Foreign Soil and Other Stories by Maxine Beneba Clarke
Friday, January 27, 2017 at 7:22AM 
First published in Australia in 2014; published by Atria / 37 INK on January 3, 2017
Maxine Beneba Clarke demonstrates remarkable range in Foreign Soil. The stories shift between Australia and less developed countries, as Clarke explores triumphs and tragedies that connect lives in cultures that are quite different from each other.
“David” tells the story of two Sudanese women in Australia. One fled from her village with two sons and memories of a third. The younger woman faces the older woman’s disapproval because she wears her hair short, dresses in jeans, has abandoned religion, and rides a bicycle. Yet it is ultimately the bicycle rather than Sudanese tradition that binds the two women in this touching, sad story. It’s easily my favorite in the collection.
“Harlem Jones” is a young man whose parents moved to London from Trinidad. He establishes his individual identity by joining a group protest against the police killing of a black man. The story is honest in its refusal to paint a more uplifting picture of forsaken lives.
“Hope” is about a girl from the mountains who goes to Kingston to find her place in the world and instead learns hard lessons about love. It’s a sweet “slice of life” story that should please fans of romance (as opposed to fans of romance fiction).
“Foreign Soil” tells the story of Angela, who falls in love with Mukasa and leaves Australia behind when he takes her to Uganda. In his own world, however, Mukasa seems like a different person. The story is bleak and troublingly unfinished.
“Shu Yi” is the name of the new kid in school. The story’s narrator, a brown-skinned girl named Ava, is relieved that someone has replaced her as the target of bullies in their white suburban Australian neighborhood. When Ava’s mother forces her to be Shu Yi’s friend, the outcome is surprising. This is my third-favorite story in the collection.
“Railton Road” is the Brixton headquarters of young black rebels who are assembling to express their growing discontent. The story highlights characters who take different approaches to black empowerment while sniping at each other and treating women as slaves.
“Gaps in the Hickory” is a story of poverty, prejudice, and pride. Poverty should transcend race as a unifying force, but some characters in the Mississippi setting of this story are blinded by bigotry as they rage against people of different races and sexual identities. The themes are particularly relevant today, as bigots cling to an imagined past that never existed. This story, like some others in the collection, is masterful in its use of dialect. Its combination of an ugly present and a hopeful future make it my second-favorite story in the volume.
“Big Islan” is about the restlessness of life in Jamaica. The story is again notable for its use of dialect.
“The Stilt Fishermen of Kathaluwa” tells the story of Ansanka, a boy soldier who fled from Sri Lanka and is now being detained in Australia. The story alternates between Ansanka’s harrowing young life and the unsatisfying life of the lawyer who interviews him in a detention facility. I love the story’s contrast between people who think they have problems and people who really have problems.
A girl who gets stuck hanging upside down symbolizes life’s deeper problems in “The Sukiyaki Book Club.” The writer enters the story to explain that she doesn’t know how to rescue the girl. Parental fear -- the writer’s need to assure that her own kids are safe and well adjusted (or at least safe) -- is the story’s focus. I’m not fond of stories in which writers intrude into the narrative, so this was my least favorite.
In “Aviation,” a woman whose husband was killed on 9/11 is asked to become an emergency caregiver for a Middle Eastern child no family will take. The story is a brief but powerful look at misdirected prejudice.
None of the stories in Foreign Soil are bad, most are quite good, and a handful are excellent. I appreciate the attention to important themes that are overlooked by modern authors who so often devote themselves to the trivial.
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