Song of the Exile

Song of the Exile

4.6 14
by Kiana Davenport

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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… See more details below


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.

From the Trade Paperback edition.

Editorial Reviews

Tony Gibbs
Song of the Exile is a tragic love story whose protagonists are torn apart by World War II, but Davenport has woven a number of themes into her big, powerful tale, from the horrors of modern war to the universality of music (in this case, jazz) as a crosscultural language. Song of the Exile is a tale for readers who love big, colorful, emotive stories. Sometimes spectacle, sometime nightmare, sometimes tearjerker, its a book you won't forget.
&#;151 Island Magazine
Publishers Weekly - Publisher's Weekly
The devastating effect of WWII on two Hawaiian families pervades this haunting novel that spans three continents and decades. Davenport (Shark Dialogues) traces the stories of Sun-ja Uanoe Sung (Sunny), a Hawaiian/Korean student from an educated family, and Keo, a native jazz musician, who meet and fall in love in Honolulu in the mid-1930s. When Keo (sometimes known as Hula Man) gets a chance to travel with a jazz band, he leaves Sunny for New Orleans and Paris. His reputation as a genius hornblower blossoms as quickly as racist violence darkens Nazi-infested Europe. Sunny escapes her fractured family life in Honolulu and journeys to join Keo in the City of Light. She revolts against the Nazi brutality she finds there, worrying also about the fate of her clubfooted sister, Lili, who was cast out by their father before Sunny was born. Arriving in Shanghai to look for Lili, Sunny is kidnapped and held captive as a "P-girl," servicing Japanese soldiers. Sunny is selected by one officer for proprietary use; her harrowing plight and that of thousands of other women and girls (some prepubescent) are described in searingly graphic detail. After the war, these women (who've aged several decades for every year of captivity) are too traumatized and ashamed to aid the Allies' feeble attempts at prosecution. There seems to be no real recovery from this level of atrocity, and Keo's story cannot equal Sunny's in intensity. After the war, Keo continues to search for Sunny, mourning and playing music. While the novel's nonsequential structure feels disjointed early on, it gains focus and power as Sunny's story unfolds. In the political maneuvering for Hawaii's statehood in 1959, the two families, bearing their emotional and physical scars, find some form of healing. Davenport's prose can verge on the purple, especially when describing Keo's musical artistry, yet overall she tells a powerful tale of love and loss. (Aug.) FYI: Davenport grew up in Honolulu, the daughter of a native Hawaiian whose ancestors were Tahitians, and a U.S. sailor from Alabama. Copyright 1999 Cahners Business Information.
Library Journal
Hawaiian-born Davenport's new novel continues the forceful and lush yet unromanticized depiction of her native islands that characterized her debut, Shark Dialogues (LJ 4/1/94). Though Davenport reintroduces Pono, the kahuna or seer who dominated Shark Dialogues, star-crossed lovers Keo and Sunny are the heart of Song of the Exile. Keo, a talented jazz musician, leaves home and family to pursue his musical obsession. Sunny follows him to Paris, but the horrors of World War II separate them. Sunny eventually suffers the fate that thousands of women endured as "comfort women," or forced prostitutes for Japanese soldiers. Davenport's scope broadens to cover Keo's family, the Meahunas, but the suffering, tragedy, and survival of these lovers remain the haunting, mesmerizing centerpiece. This should join other Hawaiian fiction on library shelves, including Nora Okja Keller's Comfort Woman (LJ 1/97) and Sylvia Watanabe's Talking to the Dead (LJ 8/92). Recommended.--Faye A. Chadwell, Univ. of Oregon Libs., Eugene Copyright 1999 Cahners Business Information.
Mindy Pennybacker
There's good stuff here: ambitious characters, class and racial tensions building beneath the somnolence of Honolulu on the brink of war.
&151#; The Nation.
Kirkus Reviews
An engaging love story dissipates long before this chronicle of a native Hawaiian family's melancholy experiences comes to a minor-key conclusion with statehood in 1953. Davenport (Shark Dialogues, 1994, etc.) introduces us to Keo and Sunny, young lovers, in Hawaii during the late 1930s. After hearing a visiting jazz group, Keo is entranced by the music's energy and emotion and vows to master it. Dew, the group's leader, tells him he must come to New Orleans or Paris someday, and Keo vows to take Sunny with him in pursuit of his fortunes. Initially unable to travel, she finally reunites with Keo in 1940 in Paris. As the Nazis march into the city, pregnant Sunny flees to rescue her lost sister in Shanghai. Feeling guilty for having let her go alone, Keo follows and finds Sunny and his newborn daughter before he's imprisoned in Shanghai. Sunny's sister and daughter die, then Sunny spends the remainder of the war in Rabaul, where she's forced to serve as one of hundreds of thousands of comfort women—girls, really, some as young as ten—for Japanese soldiers. Released from prison, Keo returns to Hawaii, picks up his jazz music, and, while touring through postwar Asia, continues his unsuccessful hunt for Sunny. His heartache grows, his music declines, and the plot fans out to encompass several additional characters, including Endo, a former Japanese soldier who once saved Keo's life in Paris but who also participated in the abuse of Sunny on Rabaul. The tale ends with statehood affirming cultural pride but also bringing the expectation of further exploitation. Davenport has a clarity of vision that makes her descriptions of Hawaii a match for the island's lush environment, thoughher attempts to vary the themes of her core story add just complicated overgrowth.

From the Publisher
"Reading this novel is an overwhelming experience. . . . Davenport's prose is sharp and shining as a sword, yet her sense of poetry and love of nature permeate each line."

"PASSIONATE . . . Song of the Exile transports the reader into an often-magical world by the power of its story. Its language is at times a song, and sometimes a cry in the dark. . . . Davenport's imagination and vision will haunt you for a long time."
—Chicago Tribune

"AN INCREDIBLE NOVEL . . . Davenport weaves the history and culture of Hawaii . . . into the restless search for self-discovery of her unforgettable characters. . . . Profound, lyrical, insightful."
—Booklist (starred review)

—New Woman

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Random House Publishing Group
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MOONLIGHT ON WET FANGS. DOBERMANS FLINGING THEMSELVES against a fence trying to get at him. Keo snarled, sending them into spasms. Inside the fence, dew turned lawns an orient of pearls. A tin heiress's Indo-Persian fortress on the sea past Diamond Head.

To build the house more than two hundred men had labored a year laying the foundation, excavating five acres of lava.

It had been like watching the construction of the pyramids--hovering dust clouds, hammering sun, age-old calligraphy of heaving dark men. The actual house had taken several years, and during that time the heiress refused to build toilets for local laborers. They were forced to relieve themselves in the wreckage where they worked, wearing urine-soaked kerchiefs on their faces so they wouldn't choke on dust. She named her fortress Wahi Pana, legendary place. Locals called it Wahi K¯ukae, place for excreting.

Keo watched limos slide through her gates. Lights igniting the main house, several bands. All he had to do was give the guards his name: she was expecting her "golden men" from the Royal. He looked down at his toe-pinch leather shoes, knife-pleated trousers. He looked across the lawns. He had no business here. What he needed wasn't here. He turned away, remembering his mother, earlier, ironing his pants.

"Why you going dere? Dat rich wahine eat you boys alive, toss you out when she get bored."

His sister, Malia, had argued in her studied, drawing-room English. "Mama, that's how it is with haole. The trick is, while they're using us, to use them."

Malia, becoming so chic she no longer fit. She had begun to sound like someone not local but not quite white. Someonestuck in between.

Their mother, Leilani, stopped ironing and stared at her.

"Girlie, you talk to me like dat again, I put dis iron smack on yo' behind. You coming too high maka-maka."

Malia leaned back as if struck. "But you're the one said pau Pidgin in this house. No more talking like k¯anaka. You said learn 'proper' English."

Leilani shook her head. "True. But bumbye you coming too good fo' us."

Malia's voice turned soft and weary. She held out scabby arms. "Mama, look at this. Rash from cheap-starch uniforms. Chambermaid all day at the Moana. At night, dancing hapa-haole tourist hula for the same folks whose toilets I scrub at noon. Why shouldn't I have airs? I earned them."

Malia, golden-skinned, verging on voluptuous. Polynesian features gathered into something just short of beautiful. Only daughter, born between the first two sons, she was "cursed" with drive and cunning. Her drawers full of French perfumes thieved from hotel guests. Designer labels snipped from hats and dresses, resewn into hers.

She was a fraud, but Keo loved her deeply. Something in his sister calmed him down.

"I'm proud of you," he told her. "You going be somebody."

"You." She pushed him away. "One day you talk Pidgin, next day 'proper' English. Cunfunnit, make up your mind!"

He smiled. In his youth he'd pushed himself, learning "proper" English. Even without university degrees, Leilani vowed, her kids would sound educated, look educated, wear real leather shoes instead of flapping, rubber slippers. Still, Keo always slid back to Pidgin; it kept him in touch with himself.

Now he turned off Kalakaua Avenue, strolling the sands past the Royal. Farther down stood the U.S. Army installation, Fort DeRussy. He moved up near the open dance floor of the officers' club, watching couples move in circles. The Negro military band played moony renditions of "Body and Soul," "You Are Too Beautiful," their eyes tragic with boredom. One of the Negroes suddenly stood and pointed his horn at the ceiling, making it sob. Couples stopped dancing and listened.

The song was still recognizable, but he played it like someone shaking his skin loose, he was so tired of the world. He didn't bob or sway, just stood apart in ancient grooves. Then at some crucial point the horn turned on the player, the song and his wild talent grappled. He blew it slow, then fast, blew it so it screamed, then crooned. It cursed, then turned docile and familiar. He must have felt too naked. The song eventually won out, flowed into easy rhythms so couples moved round the floor again.

Band taking a break, the man strolled out on the sand, sweat pouring down his face.

Keo approached. "Say. You were great."

"Naw. Great don't reach this far. Not on this fuckin' rock." He turned, peered close, saw Keo was local. "Oh, man, I'm sorry. Thought you was one of the boys from the base."

Keo laughed softly. "I don't mind. Is that a clarinet?"

The soldier looked him up and down. "You sure don't know nothing. That's a tenor sax."

He walked back to the bandstand, returning with the horn, the thing shimmering and furtive like a weapon. Keo touched its big primordial mouth.

"That part don't mean much," the Negro said. "Up here"--he danced the valves with his fingers--"is where you make it happen."

He saw the reverence with which Keo stroked the thing, the way he listened. "You like music? You play?"

"Uke, guitar ... piano."

"What you play on piano?"

"Anything. All I gotta do is hear it once."

"Read music?"

"I don't need to," Keo said.

"Hey! You pretty hip for a cat can't tell clarinet from sax. This I gotta see."

He went back to the bandstand, leaned down to the drummer, and motioned for Keo to wait in the shadows. An hour later they packed up their instruments.

"We're jamming back of Pony's Billiards, off Hotel Street. Just 'dark' boys. Want to sit in?"

Keo stepped back. "I'm not a pro. I've never played with strangers."

They laughed good-naturedly. "Let's see how good you listen. I'm Dew. This here's Handyman."

In that way he became a camp rat, following Dew's band from base to base on weekends--Fort DeRussy, Schofield Barracks, Tripler Air Base--and afterwards, all-night jam sessions in back rooms of billiard parlors and bars. Still, he couldn't screw up the nerve to play with them, awed by their dark, obverse nobility, the ferocious investitures of their sounds.

"So this is jazz."

"Jazz, ragtime--it's all just torching," Dew explained.

He grew to love their slang, their names, even their coloring--a wash of blacks, mahoganies, tans, jaunty yellows, not unlike Hawai'ians. He studied the massed residue of sweat caught in smoky lamplight, washing down dark faces like wet jewels, as one man stood and blew his horn in the softest, most elegant way. Telling of lost dreams, lost realms, misguided innocence and honor. Another took the drums apart, took songs apart with deafening crashes and wallops sliding into tom-tom rhythms, crazy cymbal flourishes, then put them together again with brushes, gentle splishes and splashes.

Keo pounded tables, wanting to scream, wanting to tell them what it meant being there, being with them, forever freed from silence. They teased him, wanting him to play. He wasn't ready, knew he wasn't good enough. Still, his love of rhythm and tempo, and syncopation, his inability to express it, endeared him to them. They adopted him, took him to taxi dance halls where Filipino bands mixed Latin rhythms with big-band sounds. He still couldn't read music, had no way to practise or improvise. He slept with the radio to his ear, absorbing all he could get, even in dreams.

One day six husky Hawai'ians staggered up Kalihi Lane, a lidless upright Steinway missing keys balanced between them. His father, Timoteo, had found it in the dump behind Shirashi Mortuary, where he was head janitor and coffin repairman. That night after work, Keo stood gaping. Warped hammers hung with leis, sprung wires taped haphazardly, its dark, squat front reminiscent of a bulldog with missing teeth.

He bought manuals and tools, repairing it one key, one felt hammer at a time. His hands took on the smell of glue and lacquer. Neighbors heard the nightly whine of planing, wood shavings curling in air like flimsy locks. His mother sat frowning at the black mass uglifying her garage.

"Why you need dis? Why you no just listen radio? Good kine music on 'Hawai'i Calls.'"

He was patient. "Mama. I'm going to be a serious musician. Not some joker playing 'Hukilau' for tourists."

Sawdust settled on her cheeks. "Then why you no play music of k¯ahiko, ancestors? Real Hawai'ian kine, wit' gourds, skin drums."

"I'm going to play jazz."

"What kine music dat?"

He wanted to say it was like confession, and doing penance, a way of playing that exhausted each man's genius and dementia. He wanted to say that after jazz, all other music would be dead.

Some nights, brother Jonah passing him pliers, a wire cutter, he worked on the Steinway till dawn. Then he walked down to the ocean. And he drank the sea he swam in, nourished and submerged. For that quiet time, nothing mattered. He had his dream. He had the sea. Wet peaks that soothed him, time untying him with salty hands.

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