by P. J. McKAY
Antoinette Van der Sande, and Louise and Marin Matulovic, thank you for sharing your personal stories. Your introductions to family and friends at the Dalmatian Society allowed me to glean yet more stories and experiences to inform this novel. I am indebted to Zlata Ozanich, for checking my use of Croatian throughout the novel.
I first met Dr Paula Morris when I was accepted for the Auckland University Masters of Creative Writing class of 2017. Paula, you have been influential as my mentor. Thank you for your insight and insistence that Gabrijela’s story must be told — even at such a late stage in the programme — and for believing in me and championing this story. Your contribution to New Zealand literature and new writers is nothing short of exceptional.
I am fortunate to have the support of the MCW cohort, a talented group of writers who are both generous with feedback and encouragement. Thanks in particular to: Rosetta Allan, Rose Carlyle, Amy McDaid, Heidi North, Kirsteen Ure and Sonya Wilson, for your friendship. Caroline Barron, although we have only met recently you have inspired me in so many ways.
My inspiration to start this novel came from signing up to an introductory course at the Creative Hub six years ago. Special thanks to Carol Painter for your continued support.
Michelle Vollemaere, thank you for your sharp eye for detail in the early stages and for your encouragement and willingness to assist as the novel progressed.
Pam Marks, I count myself fortunate to have a well-read friend who was happy to take my very first draft and provide thoughtful feedback.
I am grateful for the generous support of Creative New Zealand, and the NZSA, in awarding me a Complete Manuscript Assessment award. Thank you Barbara Else, for providing the requisite honesty and direction that pushed me to continue crafting this novel to the next stage.
Dr Nina Nola, thank you for reading and evaluating my second draft at what I know was a frenetic time for you and your family. I appreciate your moral support, wise counsel, and your many suggestions of books and films that are central to the culture you hold so dear.
Claire O’Connell, you took me under your wing and have gone above and beyond your brief.
Deborah Darling, thanks for being my travel mate all those years ago!
To my fellow WINOTS and other close friends, especially Fiona Boyle and Julie Sinclair. And to my siblings and their family’s, you have all played your part by carrying me through with laughter and a dogged belief that the end-goal was in sight — champagne is now obligatory.
I am fortunate to be a member of one of the best book groups in town who read my final draft (within the tightest of timeframes) and were generous with their astute evaluation and discussion. I am indebted to: Nicki Boswell, Rebecca Washer, Paula Mooney, Lisa Powlesland, Julie Fitzgerald, Emma Malloy, Virginia Van Schaijk, Belinda Law, Suzanne Wilson, Georgina Burt, Kerrie Barclay and Julie Chadwick.
Catherine Farquhar, my talented friend and cover artist, we met for a reason on Pauanui mountain. Thank you for taking my vision and using your own exceptional talents to transform this onto the canvas, the end result is stunning. And Laura Becker, you stepped in with your design skills at just the right time, what an inspiration you are, your talents will carry you far.
And lastly, thank you, reader, for spending time with this story and for being an integral part of the journey. It is satisfying to know that my words, first penned all those years ago, polako, polako, have finally reached their destination.
About the Author
Pip McKay’s travels through the former Yugoslavia informed The Telling Time, however the connections she forged within the local Croatian community while researching stories of New Zealand’s Croatian immigrants, have been inspirational. Pip holds a Masters in Creative Writing from the University of Auckland (2017) and in 2018, was awarded a Creative New Zealand/NZSA Complete Manuscript Assessment award for the manuscript.
The Telling Time was shortlisted for the 2020 NZSA New Zealand Heritage Literary Award and the novel’s opening won the 2020 First Pages Prize, judged by an international panel and Sebastian Faulks, OBE.
Connect with P J McKay Author
Kia ora. It has been my privilege to have you read this novel. Let’s stay connected. Please take the opportunity to visit my website and sign up for my mailing list.
And finally, leaving an honest review on your chosen platform: Goodreads; your e-book store; and/or your social media platform is both helpful and wholeheartedly appreciated. Nga mihi.
www.pjmckayauthor.com
Note on Sources
Whilst The Telling Time is a work of fiction, this novel is informed by many sources including my own backpacking adventures in 1989 through the former Yugoslavia. I researched many books and websites dealing with the Croatian experience during the second world war and the Dalmatian immigration experience in New Zealand. My journey transported me on both a visual and political journey to 1950’s and 1980’s New Zealand. The following sources were particularly helpful.
Amelia Batistich. An Olive Tree in Dalmatia. Longman Paul, 1963.
Amelia Batistich. Never Lost for Words. Auckland University Press, 2001.
Stephen A. Jelicich. From Distant Villages — the lives and times of Croatian settlers in New Zealand, 1858-1958. Pharos Publications, 2008.
A Compilation of Short Stories. The Dalmatian Genealogical and Historical Society, 2008.
Florida Vela. Croatia Mine. Quoin Press Ltd, 1997.
Carl Walrond. Dalmatians — Facts and Figures. Te Ara — The Encyclopaedia of New Zealand. http://www.TeAra.govt.nz/en/dalmatians/pages 1-8.
Bronwyn Labrum. Real Modern — Everyday New Zealand in the 1950’s and 1960’s. Te Papa Press, 2015.
Bee Dawson. The New Zealand Woman — 80 glorious years of fashion, food and friendship from the pages of the New Zealand Woman’s Weekly. Whitcoulls, 2012.
Helen Leach. Kitchens — The New Zealand Kitchen in the 20th Century. Otago University Press, 2014.
YouTube videos:
Jadranka Sardine Canning Factory. https://www.korculainfo.com/sardine-canning-factory/
Here to Stay. https://www.nzonscreen.com/title/here-to-stay-2007/
Encounter — I think I go to New Zealand. https://www.nzonscreen.com/title/encounter-I-think-i-go-to-nz-1976
An immigrant Nation. https://www.nzonscreen.com/title/dalmatian-at-heart-1994
Additionally, the library and museum at the Dalmatian Cultural Society were invaluable as sources of information. I pay tribute to the dedication and care of the voluntary committee who maintain this fabulous resource.
And Leonard Cohen, always inspirational. Gabrijela took license when writing her letter to weave in your beautiful sentiment about secrets and scars.
Book Club Discussion Notes
The author describes this novel as one that shines light on that fraught period in life when we identify as ‘young adults’. Regardless of the era, it’s a time when life-changing decisions are made, often based on little or no experience or information, bravado is required and especially resilience.
How successful has the novel been in embracing this theme?
How relatable in today’s world are the decisions both Gabrijela and Luisa are called on to make?
Are these decisions easier for our ‘young adults’ today?
What if anything is different for our ‘young adults’ today?
Gabrijela:
1.Regardless of where you live in the world, how aware were you of the Croatian/Dally immigrant story? Does the novel highlight anything you didn’t previously know about this immigrant group? What aspects of the story might be transferred to any cultural group making their home in a new country?
2.Gabrijela is exiled to New Zealand by her father — sent away in disgrace. How realistic do you think Gabrijela’s plight would have been in the 1950’s? Can you imagine the same happening in today’s world?
3.Is it realistic that Gabrijela held on to her secret for so long? What are the barriers today to disclosing such sec
rets and has the #MeToo movement helped this?
4.Why do you think Gabrijela was attracted to Ivan? Was this believable?
5.When Gabrijela finally realises she has been duped by Ivan why do you think that deep down she still held out hope?
6.Joy was a shining light for Gabrijela. How welcoming are we to new immigrants? Could we do more? What are the stumbling blocks/barriers to making new immigrants feel welcome/at home?
7.When looking back, Gabrijela describes her marriage to Roko as having jagged edges at times – what do you think she means by this?
8.How do you feel Gabrijela’s experiences would have influenced the way she parented Luisa and her siblings?
9.Luisa inferred that even years later, Gabrijela never considered herself an equal to the other Dally women at the club. Do you think this might be a common feeling or one that is unique to Gabrijela?
Luisa:
1.Luisa is proud to call herself a Croatian Kiwi even though she is disparaging of many of the old ways. How typical do you think this is for the second generation offspring of immigrants?
2.Luisa is an intelligent young woman and yet she placed herself in a risky situation. How believable is this? Was it any different for young women in the 1980’s than it is today?
3.Do you recall stories of the Moonies? What are the dangers/challenges facing our young adults today when setting off on travels? Are our young people any wiser today? Why/why not?
4.Did the novel transport anyone back to their own backpacking adventures? Anyone keen to share stories?
5.How realistic was Luisa’s reaction to her trauma? Why did she keep her secret close and why was it important for her not to disclose what had happened when she met her relatives?
6.If you were Luisa could you forgive Bex? Can you understand Bex’s reaction/actions after Luisa’s trauma.
7.Why do you think Luisa found it so hard to move on from Mike? Did this fit with her personality?
8.How would you describe Luisa’s relationship with her mum?
9. How do you think Luisa’s reunion with her Mum would have played out?