This paper aims to explore Jane Jeong Trenka`s The Language of Blood: A Memoir and Fugitive Visions: An Adoptee`s Return to Korea as life-based adoptee narratives dealing with complex identity politics of displaced, diasporic, and deprived bodies undertransnational geography. Trenka`s autobiographical narrative exposes the ideas of ethno-nationalism and victimization of subaltern bodies. Transnational adoptee bodies go through the ordeal of the rejected, misrepresented, and silenced -as Trenka expresses-“in myheart`s irrational math one Korea plus one America equals nothing-equals motherless, languageless, countryless.”In dealing with a trans-sphere of adoptee identities moving from Korea to U.S. and coming back to Korea, Trenka delves into new voices surmounting a distorted matrix of transcultural and translingual supposition and ensuing confusion. Trenka experiments with different layers of sounds; language, sound of blood and music, with a scale ranging from the referential and contaminated to the abstract and emancipated. This paper reads a wide spectrum of sounds in Trenka`s narratives as an ongoing exploration for decoding ideologically distorted discourse against adoptees. Trenka`s search for sound of blood and music continues a meaningful journey toward bridging adoptees` ``exteriorhomelessness`and``interior homelessness`and reconstructing a holistic transnational adoptee body discourse from the eyes of the insiders. This search draws a reliable portrait of the adoptee writer as well, relating a broad picture of the generations of Korean American adoptees struggling with the deeply embedded matrix of distorted bodies and dissonant languages.