It’s always exciting to discover a genre voice with a different perspective. I read Nina Allan’s 2014 debut The Race last year which I thought had huge potential. On completion of her new novel The Rift I knew that potential had already been reached. Allan, of course, isn’t new to the scene, being critically acclaimed for her short stories. Indeed, The Race has a short story structure to it. So with The Rift, Allan presents her most complete long form fiction. And boy is it worth the wait.
The Rift begins with an unusually disturbing aside before we’re properly introduced to the life of teenager sisters Selena and Julie. But it’s not long before Julie disappears. And returns again to tell her story. The plot doesn’t go much further than that, but then this isn’t really a story of other planets or the search for missing people, but it’s a story of truths and emotions. Most of the novel is Selena’s story from the third person. The middle section is Julie telling Selena about what happened to her all those years ago, life on the planet she went to, and other details about her life that Selena didn’t know about.
Of course, this is a story about the divide between adolescent sisters and how life diverges when they are no longer close. It is a story about a family coming apart. Selena is sure that the Julie of now is her missing sister. Their mother is not so sure, while their Dad, who suffered from terrible grief and obsessions after that fateful day, is no longer around. Allan uses a wide range of writing styles and story-telling techniques to play with the reader’s perceptions. The story is interspersed with letters, police and newspaper reports, fiction and non-fiction from Julie’s planet (a nice concise way of world-building that doesn’t detract from the human stories), interviews and other devices. All these ideas plant various ideas of what may or may not have happened to Julie.
So, is Julie telling the truth? Is Nina Allan telling the truth? Does it matter? I’m convinced that there are clues laid about, but they may just be coincidences – deliberately so. Mis-directions if you will. Names on the planet and on Earth have similarities (Lila and Lisa for example). Meanwhile, not long after a mention of Marillion’s 1980s hit Kayleigh we learn that there is a place called Marillienseet and a character called Cally. Allan even alludes to her own playfulness: “the written word has a closer relationship to memory than with the literal truth, that all truths are questionable…”
There is a term used in psychiatry; confabulation. It is, essentially, the ability to mis-remember or distort our own memories to fit within the truths of our own existence. The Rift could be said to be Julie’s confabulation as a reaction to what really happened to her, or she might have really spent many years on another planet. Allan doesn’t hand you answers on a plate. Or at all. What is reality and does it have any significance other than how we deal with the relationships in our lives?
Allan’s writing is so engaging. With everything that is happening between the characters you come to enjoy spending time with them. With all the puzzles that surround the book, Allan never fails the reader. She uses small details and a plethora of pop culture references to ground the story. There isn’t any requirement for pages of complex world-building. Is The Rift science fiction, or even genre? Each reader will have to be their own judge of that. All the same, this is a book that gives the reader so much to think about and so much to enjoy, it should be read by any audience. Allan’s voice is a triumph of mind and writing and imagination.
This review was originally published on the Geek Syndicate website here: http://geeksyndicate.co.uk/reviews/book-review-the-rift-by-nina-allan/