Rebecca D’Harlingue has done graduate work in Spanish literature, worked as a hospital administrator, and taught English as a Second Language to adults from all over the world. She shares her love of story both with preschoolers at a Head Start program and with the members of the book club she has belonged to for decades. D’Harlingue lives in Oakland, California, with her husband, Arthur, where they are fortunate to frequently spend time with their children and grandchildren.

In 1660, Amsterdam is the trading and map-printing capital of the world. Anneke van Brug is one of the colorists paid to enhance black-and-white maps for a growing number of collectors. Her artistic talent brings her to the attention of the Blaeu printing house, and she begins to color for a rich merchant, Willem de Groot. But Anneke is not content to simply embellish the work of others; she longs to create maps of her own. Cartography, however, is the domain of men—so it is in secret that she borrows the notes her father made on a trip to Africa in 1642 and sets about designing a new map.

Anneke hopes to convince the charismatic de Groot to use his influence to persuade Blaeu to include her map in the Atlas Maior, which will be the largest and most expensive publication of the century. But family secrets, infidelity, and murder endanger her dream. Will her map withstand these threats, or will it be forever lost?

In 1661 Madrid, Ana is still grieving the loss of her husband when her niece, sixteen-year-old Juliana, suddenly vanishes. Ana frantically searches the girl’s room and comes across a diary. Journeying to southern Spain in the hope of finding her, Ana immerses herself in her niece’s private thoughts. After a futile search in Seville, she comes to Juliana’s final entries, and, discovering the horrifying reason for the girl’s flight, abandons her search.

In 1992 Missouri, in her deceased mother’s home, Rachel finds a packet of letters, and a diary written by a woman named Juliana. Rachel’s reserved mother has never mentioned these items, but Rachel recognizes the names Ana and Juliana: her mother uttered them on her deathbed. She soon becomes immersed in Juliana’s diary, which recounts the young woman’s journey to Mexico City and her life in a convent. As she learns the truth about Juliana’s tragic family history, Rachel seeks to understand her connection to the writings—hoping that in finding those answers, she will somehow heal the wounds caused by her mother’s lifelong reticence.