Song of the Exile

Song of the Exile

by Kiana Davenport
Song of the Exile

Song of the Exile

by Kiana Davenport

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Overview

In this epic, original novel in which Hawaii's fierce, sweeping past springs to life, Kiana Davenport, author of the acclaimed Shark Dialogues, draws upon the remarkable stories of her people to create a timeless, passionate tale of love and survival, tragedy and triumph, survival and transcendence.

In spellbinding, sensual prose, Song of the Exile follows the fortunes of the Meahuna family—and the odyssey of one resilient man searching for his soul mate after she is torn from his side by the forces of war. From the turbulent years of World War II through Hawaii's complex journey to statehood, this mesmerizing story presents a cast of richly imagined characters who rise up magnificent and forceful, redeemed by the spiritual power and the awesome beauty of their islands.

Product Details

ISBN-13: 9780345515445
Publisher: Random House Publishing Group
Publication date: 09/30/2008
Sold by: Random House
Format: eBook
Pages: 384
Sales rank: 948,324
File size: 2 MB

About the Author

Kiana Davenport was born and raised in Kalihi, Hawaii. Author of the critically acclaimed novel Shark Dialogues, she has been a Fiction Fellow at Radcliffe's Bunting Institute and the recipient of a Fiction Grant from the National Endowment for the Arts. She lives in Boston and Hawaii.

Read an Excerpt

RABAUL
NEW BRITAIN, 1942


"... SOON THE 'IWA BIRD WILL FLY. HUGE MAMMAL WAVES WILL breach and boom. It will be Makahiki time. Autumn in my islands ..."

She sits up quickly in the dark, taking her body by surprise. Her fingers roam her face, a face once nearly flawless. She drags her knuckles down her cheeks.

Outside, electrified barbed wire hums. She feels such wrenching thirst, she sucks sweat coursing down her arm. Then carefully she rises, gliding like algae through humid air. She listens for the sea. For that is what she longs for--waves cataracting, corroding her to crystals. From somewhere, gurgling latrines. Even their sound is comforting.

A kerosene lamp is steered into the dark. Sunny watches as dreamily it floats, comes down. A soldier's hand, the hand of memory, places it on the floor, revealing a yeasty, torn mosquito net. Inside, a young girl on a narrow bed, so still she could be dead.

In watchtowers surrounding the women's compound--twenty Quonset huts, within each, forty women--guards yawn and stroke their rifles. One of them half dozes, dreamily composing an impeccable letter to his family in Osaka. "Mother, we are winning.... The Imperial Japanese Army will prevail!" He is growing thin.

In one hut a young girl, Kim, pulls her net aside. Burning with pain, she crawls into Sunny's narrow bed, into her arms, and sobs.

Sunny calms her, whispering, "Yes, cry a little, it will help you sleep."

"It's hardest when the sky turns light. I think of my family who I will never see again. I want to run outside, throw myself against the fence." Sunny sighs, breathes in the smell of sewage, failing flesh. "Kim, be strong. Think of music, think of books--normal things we took for granted."

"I don't remember normal things." Kim scratches at her sordid legs, a girl of sixteen. "I don't remember life.

" Sunny shakes her gently, feeling mostly bone. "Listen now. When the whistle blows for mustering, we'll stand up straight, eat whatever scraps they throw. No matter how filthy the water, we'll drink. With what is left we'll bathe. We'll do this for our bodies, so our bodies will know we still have hope for a future."

"What future?" Kim whispers. "Two years of this. I only want to die."

"Hush, and listen. Death would be too easy, don't you see?" Sunny sighs, begins to drift. "... In Paris now it would be cool. We would stroll the boulevards." Her voice turns dreamy. "We might even take a cab."
Kim looks up, asking softly, "Will the drivers be rude again?"

"Oh, yes. And my French is so bad. Maybe this night we would go to Chez L'Ami Louis."

"Oh! The food is rich, so excellent." Kim momentarily comes alive, for this is her favorite game. Imagining.

"What wine shall we order? The house Fleurie?"

"And paté. And oysters! Will you dip mine in horseradish, Sunny?"

"Of course. And I will scold you when you pocket the matches, such a tourist thing."

Her voice softens. She thinks of Keo, their time in Paris. Rocking in lush geometries of morning light, nothing between them but heartbeats. Then spinning under marble arches, through terraced parks, young and careless and exiled. Not seeing Paris collapsing around them, not seeing their lives were crumbling.

"How happy we were. Grabbing each moment, so alive."

"I have no such memories," Kim weeps. "I never shall."

"Of course you will! One day this will end. You will heal. Life will help you to forget."

"... Yes. Maybe life is waiting in Paris. Beauty and adventure. And shall we walk this evening down the Champs Elysées? Shop for the softest kid gloves? And cologne? Or maybe take a café and wait for Keo. I'll close my eyes, pretend I'm there, just looking on."

"Shh," Sunny whispers. "Soon it will be daylight. If they find us together, they'll beat us again."

She feels tears come: hunger, torture, incessant pain, the knowledge that she and this girl--all of them--are dying.

"Don't think so much. It will consume you. You will never survive."

"Survive. For what?" Kim's voice grows loud; girls sit up listening behind their nets. "You talk of life. How can we face life after this? How can we face ourselves?"

Sunny's voice turns urgent. "We must live. Or what have we suffered for? Will these years have been for nothing?

" Under her pillow is a makeshift map, drawn so she can remember where they are, where they were shipped to months ago. Here is the town of Rabaul on the island of New Britain, east of Papua New Guinea, just north of Australia. Here is the Pacific Ocean and, far to the northeast, Hawai'i. Honolulu, home. Farther out is the world, the great oceans. Far across the Atlantic, there is Paris. Yesterday. But, always, her mind snaps back to Rabaul.
Exhausted, weak beyond knowing, Kim sinks back on the filthy mattress, stale grains of rice matting her hair. "I want to sleep, I want to dream. Oh, take me back to Paris, shops, cabarets. Tell me again how you and Keo rode in a car with the top down....

" Paris, Sunny thinks. We were so innocent. Not understanding trains were already leaving stations, streets were darkening with blood. She sighs, begins again, dreamily, and as she talks, girls struggle from their beds, move down the aisle, brushing her mosquito net. Some so thin, their movements seem delicate, some so young they are children, ghosts weaving through a scrim. Wanting only to listen and dream, they sit with arms entwined, heads bowed against each other.

Reading Group Guide

1. Keo's jazz mentor emphasizes the importance of knowing a tradition before experimenting with it. To what traditions is Song of the Exile indebted? How does Kiana Davenport borrow and blend various narrative traditions--Greek mythology, Hawaiian folklore, and chronicles of war--to create her own?

2. Discuss how the structure of the novel mirrors the workings of memory. What does the novel show us about the past's place in the present?

3. A number of landscapes are traversed throughout the course of the novel's action; some seem to exert a greater influence on character that others. What do we learn about the extent to which place shapes character? And how can character shape place? Also, how does the novel challenge or uphold traditional notions of home?

4. Much of Song of the Exile chronicles characters' attempts to bring their interior lives into some sort of harmony with the exterior world, the world of others. What sort of obstacles most often appear between the two? Which prove the most formidable, and why? What resources do Keo, Sunny, or Malia find or find lacking when confronted with trial?

5. What was your understanding of the term "comfort women" before reading this novel? From where did you derive your knowledge? What notions were undermined or supported? To what extent can a work of fiction color one's consciousness or effect social change, however modestly?

6. Kiana Davenport has spoken of the importance of resisting the temptation to depict the Japanese lieutenants as utter villains, noting the inherent humanity each of us possesses--however damaged it may be. Does she succeed in avoiding caricatures of evil? What lightdoes Song of the Exile shed on the nature of cruelty and violence, particularly during wartime?

7. The novel is replete with exiles. What are the various songs of each one, and what is the significance of singing or at least making the attempt? What are the perils of silence?

8. Threats to freedom appear throughout the novel, some more conspicuous than others. Provide examples of the way notions of freedom differ from character to character. What restraints are imposed internally, and externally? How? Which prove most difficult to break?

9. Follow the shifting role of music in Keo's life, and explain the ways in which it opens up or limits his character. How does his means of expression compare to Malia's or Sunny's? What might Davenport be proffering about the role of creative self-expression in one's life? Or the extent to which one person can comprehend another?

10. How pointed are the politics in Song of the Exile? Do you see this as a novel with an agenda/ If yes, what? Does a novelist have a responsibility to engage the politics of the time he or she chronicles? Why?

11. Hawaii itself emerges as a character in the novel. What sort of transformation does it undergo? How does its evolution compare to that of the central character? What forces are at work on each? Which are unique to place?

12. Kiana Davenport has said that the writers she admires most get at the truly difficult themes through the subject of family. What is the role of family in Song to the Exile? How do abstractions such as freedom, happiness, and meaning find expression in the author's handling of family?

13. What is the dominant tone of the novel?

14. Samuel Johnson famously remarked that "the only end of writing is to enable the reader better to enjoy life or better to endure it." How does Song of the Exile measure up to his criteria?

15. At the novel's close, Oogh reminds Keo of the many voices we never hear, the "many meanings we never get." He then adds, "Perhaps we are all lost, and found, and lost again. Perhaps we are all lost, and found, and lost again. Perhaps only amazement keeps us alive." Look at Song of the Exile through the lens of Oogh's wisdom.

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