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The Time In Between

A Novel


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About The Book

The inspiring international bestseller of a seemingly ordinary woman who uses her talent and courage to transform herself first into a prestigious couturier and then into an undercover agent for the Allies during World War II.

Between youth and adulthood...

At age twelve, Sira Quiroga sweeps the atelier floors where her single mother works as a seamstress. At fourteen, she quietly begins her own apprenticeship. By her early twenties she has learned the ropes of the business and is engaged to a modest government clerk. But everything changes when two charismatic men burst unexpectedly into her neatly mapped-out life: an attractive salesman and the father she never knew.

Between war and peace...

With the Spanish Civil War brewing in Madrid, Sira leaves her mother and her fiancé, impetuously following her handsome lover to Morocco. However, she soon finds herself abandoned, penniless, and heartbroken in an exotic land. Among the odd collection of European expatriates trapped there by the worsening political situation back on the Continent, Sira reinvents herself by turning to the one skill that can save her: her gift for creating beautiful clothes.

Between love and duty...

As England, Germany, and the other great powers launch into the dire conflict of World War II, Sira is persuaded to return to Madrid, where she takes on a new identity to embark upon the most dangerous undertaking of her career. As the preeminent couturier for an eager clientele of Nazi officers’ wives, Sira becomes embroiled in the half-lit world of espionage and political conspiracy rife with love, intrigue, and betrayal.

An outstanding success around the world, The Time in Between has sold more than two million copies and inspired the Spanish television series based on the book, dubbed by the media as the “Spanish Downton Abbey.” In the US it was a critical and commercial hit, and a New York Times bestseller in paperback. It is one of those rare, richly textured novels that enthrall down to the last page. María Dueñas reminds us how it feels to be swept away by a masterful storyteller.


Chapter One

A typewriter shattered my destiny. The culprit was a Hispano-Olivetti, and for weeks, a store window kept it from me. Looking back now, from the vantage point of the years gone by, it’s hard to believe a simple mechanical object could have the power to divert the course of an entire life in just four short days, to pulverize the intricate plans on which it was built. And yet that is how it was, and there was nothing I could have done to stop it.

It wasn’t really that I was treasuring any great plans in those days. My ambitions remained close to home, almost domestic, consistent with the coordinates of the place and time in which I happened to live, plans for a future that could be within my grasp if I reached out my fingertips. At that time my world revolved slowly around a few presences that seemed to me firm and eternal. My mother had always been the most solid of them all. She was a dressmaker, working in a shop with a distinguished clientele. She was experienced and had good judgment, but she was never any more than a salaried seamstress, a working woman like so many others who for ten hours a day sacrificed her nails and pupils cutting and sewing, checking and adjusting garments destined for bodies that were not her own and gazes that would rarely be aimed at her. I knew little about my father in those days. Nothing, to be exact. He had never been around, nor did his absence affect me. I never felt much curiosity about him until my mother, when I was eight or nine, ventured to offer me a few crumbs of information. That he had another family, that it was impossible for him to live with us. I swallowed up those details with the same haste and scant appetite with which I polished off the last spoonfuls of the Lenten broth before me: the life of that alien being interested me considerably less than racing down to play in the square.

I had been born in the summer of 1911, the same year that the dancer Pastora Imperio married El Gallo, when the Mexican singer Jorge Negrete came into the world. When the star of that age they called the Belle Époque was fading. In the distance the drums of what would be the first great war were beginning to be heard, while in Madrid cafés people read El Debate and El Heraldo, and on the stage La Chelito fired men’s passions as she moved her hips brazenly to the tempo of popular songs. During those summer months King Alfonso XIII managed to arrange that, between one lover and the next, his fifth legitimate child, a daughter, was conceived. Meanwhile, at the helm of the government was Canalejas the liberal, who couldn’t predict that just a year later an eccentric anarchist would put an end to his life, firing three bullets to his head while he was browsing in the San Martín bookshop.

I grew up in reasonably happy surroundings, with more constraints than excesses but nonetheless with no great deprivations or frustrations. I was raised in a narrow street in a fusty old neighborhood in Madrid, right beside the Plaza de la Paja, just a couple of steps from the Palacio Real. A stone’s throw from the ceaseless hubbub of the heart of the city, a world of clothes hung out to dry, the smell of bleach, the voices of neighboring women, and cats lying out in the sun. I attended a makeshift school on the mezzanine of a nearby building: on its benches, meant to be used by two people, we kids arranged ourselves in fours, with no sense of order, pushing and shoving, shouting our renditions of “The Pirate’s Song” or our times tables. It was there I learned to read and write, to master the four functions of basic arithmetic as well as the names of the rivers crisscrossing the yellowed map that hung from the wall. At the age of twelve I completed my schooling and became an apprentice in the workshop where my mother worked. My logical fate.

The business of Doña Manuela Godina—the owner—had for years produced fine garments, very skillfully cut and sewn, highly regarded all over Madrid. Day dresses, cocktail dresses, coats, and cloaks that would later be shown off by distinguished ladies as they walked along La Castellana, around the Hippodrome, and the Puerta de Hierro polo club, as they took their tea at Sakuska or entered the ostentatious churches. Some time passed, however, before I began to find my way into the secrets of sewing. At first I was the whole workshop’s girl: the one who took the charcoal from the braziers and swept the cuttings from the floor, who heated the irons in the fire and ran breathless to buy thread and buttons from the Plaza de Pontejos. The one who was in charge of getting the just-finished garments, wrapped in big brown linen bags, to the exclusive residences: my favorite job, the greatest joy of my budding career. That was how I came to know the porters and chauffeurs from the best buildings, the maids, housekeepers, and butlers of the wealthiest families. I watched—unseen—the most refined of ladies, daughters, and husbands. And like a mute witness I made my way into their bourgeois houses, into aristocratic mansions and the sumptuous apartments of charming old buildings. Sometimes I wouldn’t get past the servants’ area, and someone from the household would accept delivery of the dress; at other times, I was directed to go to the dressing room, so I would make my way down corridors and catch glimpses of drawing rooms, where my eyes would feast on the carpets, chandeliers, velvet curtains, and grand pianos that sometimes were being played and sometimes not, thinking all the while how strange it would be to live in such a universe.

My days shifted effortlessly between these two worlds, and I became less and less aware of the incongruity that existed between them. I would walk down those broad roads rutted with carriage tracks and lined with large imposing doorways just as naturally as I would pass through the crazy network of winding streets that formed my neighborhood, streets filled with puddles, rubbish, the cries of vendors, and the sharp barks of hungry dogs. Where everyone always went in a hurry, and at the cry of “Agua va!” you had better take cover to avoid being splattered with urine. Craftsmen, minor businessmen, employees, and newspaper vendors lately arrived in the capital filled the rental houses and gave my neighborhood its villagey feel. Many of them only left its bounds when obliged to; my mother and I, on the other hand, did so early each morning, to get over to Calle Zurbano and quickly buckle down to our day-to-day tasks in Doña Manuela’s workshop.

After my first two years as an apprentice, the two of them decided that the time had come for me to learn how to sew. At fourteen, I started with the simplest things: fasteners, overcasting, loose tacking. Then came buttonholes, backstitches, and hems. We worked seated on little rush chairs, hunched over wooden boards supported on our knees, where we placed the fabric we were sewing. Doña Manuela dealt with the customers, cutting, checking, and correcting. My mother took the measurements and dealt with all the rest: she did the most delicate needlework and assigned the remainder of the jobs, supervising their execution and imposing rhythm and discipline on a small battalion consisting of half a dozen older dressmakers, four or five young women, and a number of chatterbox apprentice girls, always keener on laughing and gossiping than on doing their work. Some of them ended up good seamstresses, and the ones who couldn’t sew well ended up doing the less desirable tasks. When one girl left, another would replace her in that noisy room, so incongruous compared to the serene opulence of the shop’s façade and the sobriety of its luminous front room to which only the customers had access. The two of them—Doña Manuela and my mother—were the only ones who could enjoy its saffron-colored drapery, its mahogany furniture, its luminous oak floor, which we younger girls were responsible for waxing with cotton rags. Only they, from time to time, would receive the rays of sunlight that came in through the four high balcony windows facing the street. The rest of us remained always in the rear guard: in the gynaeceum, freezing in winter and hellish in summer. That was our workshop, that grey space around the back whose only openings were two little windows onto an interior courtyard, where the hours passed like breaths of air between the humming of ballads and the noise of scissors.

I learned fast. I had agile fingers that adapted quickly to the shape of the needles and the touch of the fabrics. To measurements, draping, and volumes. Neck, bust, outside leg. Under bust, full back, cuff. At sixteen I learned to tell fabrics apart, at seventeen to appreciate their qualities and calibrate their possibilities. Crêpe de chine, silk muslin, georgette, Chantilly lace. Months passed as if turning on a Ferris wheel: autumns spent making coats in fine fabrics and between-season dresses, springs sewing flighty dresses destined for long, faraway Cantabrian holidays, the beaches at La Concha or El Sardinero. I turned eighteen, nineteen. Bit by bit I was initiated into handling the cutting work and tailoring the more delicate components. I learned to attach collars and lapels, to predict how things would end up. I liked my work, actually enjoyed it. Doña Manuela and my mother sometimes asked me for my opinion; they began to trust me. “The girl has a fine hand and a fine eye, Dolores,” Doña Manuela used to say. “She’s good, and she’ll get better if she stays on track. Better than you, you needn’t worry about that.” And my mother would just carry on with what she was doing, as if she hadn’t heard a thing. I didn’t look up from my working board either. But secretly I watched her out the corner of my eye, and in her mouth—studded with pins—saw the tiniest trace of a smile.

The years went by, life went by. Fashion changed, too, and at its command the activities of the workshop adjusted. After the war in Europe straight lines had arrived, corsets had been cast aside, and legs began to be shown without so much as the slightest blush. When the Roaring Twenties came to an end, however, the waistlines of dresses returned to their natural place, skirts got longer, and modesty once again imposed itself on sleeves, necklines, and desires. Then we launched ourselves into a new decade and there were more changes. All of them together, unforeseen, almost one on top of another. I turned twenty, the Republic arrived in Spain, and I met Ignacio. It was one September Sunday in Parque de la Bombilla, at a riotous dance that was crammed full with workshop girls, bad students, and soldiers on leave. He asked me to dance, he made me laugh. Two weeks later we began to sketch out plans to marry.

Who was Ignacio, and what was he to me? The man of my life, that’s what I thought then. The calm lad who I sensed would be a good father to my children. I had already reached the age when girls like me—girls with no professional expectations—had few options other than marriage. The example of my mother, who had raised me alone and in order to do so had worked from sunrise to sunset, had never seemed to me a very appealing fate. In Ignacio I found someone with whom to pass the rest of my adult life without having to wake up every morning to the taste of loneliness. I was not stirred to the heights of passion, but rather an intense affection and the certainty that my days by his side would pass without sorrows or stridency, sweetly gentle as a pillow.

Ignacio Montes, I thought, would come to be the owner of that arm of mine that he would take on a thousand and one walks, the nearby presence that would offer me security and shelter forever. Two years older than I, thin, genial, as straightforward as he was tender. He was tall, with a skinny build, good manners, and a heart whose capacity to love me seemed to multiply with the hours. The son of a Castilian widow who kept her well-counted money under the mattress, he lived intermittently in insignificant boardinghouses and was an eager applicant for bureaucratic jobs as well as a perpetual candidate for any ministry that might offer him a salary for life—War, Governance, the Treasury. The dream of nearly three thousand pesetas a year, two hundred and forty-one a month—a salary that is set forever, never to be changed, dedicating the rest of his days to the tame world of departmental offices and secretarial offices, of blotters, untrimmed paper, seals, and inkwells. It was on this that we based our plans for the future: on the back of a perfectly calm civil service that, one round of exams after another, refused stubbornly to include my Ignacio on its list of names. And he persisted, undiscouraged. In February he tried out for Justice and in June for Agriculture, and then it started all over again.

In the meantime, unable to allow himself costly diversions, and yet utterly devoted to making me happy, Ignacio feted me with the humble possibilities that his extremely meager pocket would allow: a cardboard box filled with silkworms and mulberry leaves, cones of roasted chestnuts, and promises of eternal love on the grass under the viaduct. Together we listened to the band from the pavilion in the Parque del Oeste and rowed boats in El Retiro on Sunday mornings when the weather was pleasant. There wasn’t a fair with swings and barrel organ that we didn’t turn up at, nor any chotis that we didn’t dance with watchlike precision. How many evenings we spent in the Vistillas gardens, how many movies we saw in cheap local cinemas. Drinking a Valencian horchata was a luxury to us, taking a taxi a dream. Ignacio’s tenderness, while not overly bold, was nevertheless boundless. I was his sky and his stars, the most beautiful, the best. My skin, my face, my eyes. My hands, my mouth, my voice. Everything that was me made up the unsurpassable for him, the source of his happiness. And I listened to him, told him he was being silly, and let him love me.

Life in the workshop in those days, however, followed a different rhythm. Things were becoming difficult, uncertain. The Second Republic had instilled a sense of apprehension in the comfortable prosperity surrounding our customers. Madrid was turbulent and frantic, the political tension permeating every street corner. The good families extended their northern summer holidays indefinitely, seeking to remain on the fringes of the unsettled, rebellious capital where the Mundo Obrero was declaimed loudly in the squares while the shirtless proletariat from the outskirts made their way, without retreat, into the Puerta del Sol. Big private motorcars began to be seen less and less on the streets, opulent parties dwindled. Old ladies in mourning prayed novenas for Azaña to fall soon, and the noise of bullets became routine at the hour when the gas street lamps were lit. The anarchists set fire to churches, the Falangists brandished pistols like bullies. With increasing frequency the aristocrats and hautes bourgeoises covered their furniture up with sheets, dismissed the staff, bolted the shutters, and set out hastily for foreign parts, taking jewels galore, fears, and banknotes across the borders, yearning for the exiled king and an obliging Spain, which would still be some time in coming.

Fewer and fewer ladies visited Doña Manuela’s workshop, fewer orders came in, and there was less and less to do. Drip by painful drip, first the apprentice girls and then the rest of the seamstresses were dismissed, till all that were left were the owner, my mother, and me. And when we finished the last dress for the Marchioness of Entrelagos and spent the next six days listening to the radio, twiddling our thumbs, without a single soul appearing at the door, Doña Manuela announced, sighing, that she had no choice but to shut up shop.

Amid the turbulence of those days in which the political fighting made theater audiences quake and governments lasted three paternosters, we barely had the chance to cry over what we’d lost. Three weeks after the advent of our enforced inactivity, Ignacio appeared with a bouquet of violets and the news that he had at last passed his civil service exam. The plans for our little wedding stifled any feelings of uncertainty, and on a little table we planned the event. Although the new breezes that swept in with the Republic carried on them the fashion for civil weddings, my mother—whose soul housed simultaneously, and with no contradiction, her condition as single mother, an iron Catholic spirit, and a nostalgic loyalty to the deposed monarchy—encouraged us to celebrate a religious wedding in the neighboring church of San Andrés. Ignacio and I agreed; how could we not, without toppling that hierarchy of order in which he submitted to all my desires and I deferred to my mother’s without argument. Nor did I have any good reason to refuse: the dreams I had about celebrating that marriage were modest ones, and it made no difference to me whether it was at an altar with a priest and cassock or in a large room presided over by a Republican tricolor flag.

So we prepared to set the date with the same parish priest who twenty-four years earlier, on June eighth, as dictated by the calendar of saints’ days, had given me the name Sira. Sabiniana, Victorina, Gaudencia, Heraclia, and Fortunata had been other possibilities that went with the saints of the day.

“Sira, Father, just put Sira—it’s short, at least.” That was my mother’s decision, in her single motherhood. And so I was Sira.

We would celebrate the marriage with family and a few friends. With my grandfather, who had neither his legs nor his wits, mutilated in body and spirit during the war of the Philippines, a permanent mute presence in his rocking chair next to our dining room balcony windows. With Ignacio’s mother and sisters who’d come in from the village. With our next-door socialist neighbors Engracia and Norberto and their three sons, as dear to us as if the same blood flowed right across the landing. With Doña Manuela, who took up the threads again to give me the gift of her final piece of work, in the form of a bridal dress. We would treat our guests to sugar-plum pastries, sweet Málagan wine and vermouth. Perhaps we would be able to hire a musician from the neighborhood to come up and play a paso doble, and some street photographer would take a dry-plate picture for us, which would adorn our home, something we did not yet have and for now would be my mother’s.

It was then, amid this jumble of plans and preparations, that it occurred to Ignacio to prepare me to take the test to make me a civil servant like him. His brand-new post in administration had opened his eyes to a new world: that of the administration of the Republic, an area where there existed professional destinies for women that lay beyond the stove, the wash house, and drudgery; through which the female sex could beat a path, elbow to elbow with men, in the same conditions and with their sights set on the same dreams. The first women were already sitting as deputies in the parliament; the equality of the sexes in public life was proclaimed. There had been recognition of our legal status, our right to work, and universal suffrage. All the same, I would have infinitely preferred to return to sewing, but it took Ignacio just three evenings to convince me. The old world of fabrics and backstitches had been toppled and a new universe was opening its doors to us: we had to adapt to it. Ignacio himself could take charge of my preparation; he had all the study topics and more than enough experience in the art of putting himself forward and failing countless times without ever giving in to despair. As for me, I would do my share to help the little platoon that we two would make up with my mother, my grandfather, and the progeny to come. And so I agreed. Once we were all set, there was only one thing we lacked: a typewriter on which I could learn to type in preparation for the unavoidable typing test. Ignacio had spent months practicing on other people’s machines, passing through a via dolorosa of sad academies smelling of grease, ink, and concentrated sweat. He didn’t want me to have to go through the same unpleasantness, hence his determination that we should obtain our own equipment. In the weeks that followed we launched ourselves on our search, as though it would turn our lives totally around.

We studied all the options and did endless calculations. I didn’t understand about detailed performance features, but it seemed to me that something small and light would be most suitable for us. Ignacio was indifferent to the size, but he did take extraordinary care over prices, installment payments, and terms. We located all the sellers in Madrid, spent hours standing at their window displays, and learned to pronounce exotic names that evoked distant geographies and movie stars: Remington, Royal, Underwood. We could just as easily have chosen one brand as another; we could just as well have ended up buying from an American establishment as a German one, but our choice settled finally on the Italian Hispano-Olivetti on Calle de Pi y Margall. How could we have known that with that simple act, with the mere fact of having taken two or three steps and crossed a threshold, we were signing the death sentence on our time together and irreparably twisting apart the strands of our future.

© 2009 María Dueñas

Reading Group Guide

This reading group guide for The Time in Between includes an introduction and discussion questions for enhancing your book club. The suggested questions are intended to help your reading group find new and interesting angles and topics for your discussion. We hope that these ideas will enrich your conversation and increase your enjoyment of the book.


The Time in Between by Maria Dueñas is an international bestseller that spans the Spanish Civil War to World War II. This beautifully spun novel tells the story of a seamstress who rises to become the most sought-after couturiere and an undercover spy who passes information about the Nazi regime to the British Secret Service through a secret code stitched into the hems of her dresses. The Shadow of the Wind meets Casablanca in this sweeping and artfully crafted debut


1.     The first sentence of the book, “A typewriter shattered my destiny” is an example of the author’s use of foreshadowing of future events. Were you immediately drawn into the story?  Were you curious to know whose destiny was shattered and why?

2.     What's Sira's relationship with her mother like at the outset of The Time in Between? In what ways does it change throughout the course of the story? Do you think that Sira becomes engaged because she's really in love, or because of pressure from her mother? And, is it her humble beginnings, naiveté, or something more that lures Sira into an affair with Ramiro? Can you think of other protagonists who were led astray by a charming older man?

3.     Discuss what role heartbreak plays in The Time in Between. How does it change Sira? Do you think it ultimately makes her stronger? Why or why not?

4.     Sira is a couture designer who was born on June 8, 1911. The story ends in the early 1940s.  Discuss how the world of fashion and Sira changed with the political situation of the time (see pgs.7, 143, 155).

5.     What do you think of Candelaria and Dolores?  How did each of these women influence Sira’s life and future choices?

6.     Discuss the characters that Sira encounters in Candeleria's boarding house. What do you think of their interactions over the supper table? Does your opinion of Candelaria change throughout the novel? If so, why?

7.     Who is Commissioner Claudio Vazquez?  Was he friend, foe, or both to Sira?

8.     How did the author give us insight into the political situation in Madrid and Morocco during the Spanish Civil War of the 1930s and early World War II?

9.     Felix is Sira’s Pygmalion.  How did their unlikely friendship benefit each of them?

10.  Discuss the many ways Sira re-invented herself.  How was Sira Quiroga different from Arish Agoriuq?

11.  Rosalinda Fox says to Sira on page 197, “Sometimes luck decides to make our decisions for us, no? Asi es la vida.  That’s life, no?”  Do you agree with that statement?  Discuss how luck may have played a role in each of their lives.

12.  How would you characterize Rosalind Fox? Does knowing that she's real affect your reading of her? How realistic does she seem to you?

13.  Why is Sira so reticent about Marcus? What did you think about the revelations they each made about the other at the end?

14.  Sira does extraordinary things throughout The Time in Between. Does this make her a heroine? Or, is she simply acting based on circumstances?

15.  Like Sira, many of the other characters in The Time in Between take risks, particularly because of the wars. Which ones did you think were the most dangerous? Why? What do you think the title of the book signifies?

16.  How would you cast the movie version of The Time in Between?  Who would play the role of Sira?  Marcus Logan?  Ramiro Arribas? 

17.  Maria Duenas is an academic. Does knowing this influence your reading of the story? If so, in what ways?


The guide for The Time in Between was created through the participation of various reading groups, who read and reviewed the book and submitted questions. Are there questions that you would have included had you been writing the guide? What would you have asked?

About The Author

© Pilot Press

María Dueñas holds a PhD in English philology. After two decades in academia, she broke onto the literary scene in 2009 with the publication of the New York Times bestselling novel The Time in Between, followed by The Heart Has Its Reasons in 2012. Both novels became international bestsellers and have been translated into thirty-five languages. The television adaptation of The Time in Between earned critical and international acclaim. The Vineyard is her third novel.

Product Details

  • Publisher: Atria Books (July 10, 2012)
  • Length: 640 pages
  • ISBN13: 9781451616897

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Raves and Reviews

"A wonderful novel, in the good old tradition, with intrigue, love, mystery and tender, audacious and well-drawn characters."

– Mario Vargas Llosa, recipient of the 2010 Nobel Prize in Literature

“It's exciting to find a deftly paced first novel with an engaging heroine, satisfying historical detail, and emotional balance. Love it!”

– Esmeralda Santiago, New York Times bestselling author of Conquistadora

"The Time in Between is an epic novel with an unlikely Spanish heroine, Sira Quiroga, that takes us through one of the most turbulent times in Europe: the onset of World War II. Sira travels on a journey through romance, love, loss, and intrigue, all while discovering traits that she never dreamed she had. I couldn't turn the pages fast enough, and once I reached the end, I couldn't wait to start it all over again!"

– Daisy Martinez, author of Daisy: Morning, Noon and Night and Daisy's Holiday Cooking

“Maria Dueñas is a true storyteller. She weaves a spell, conjuring the heat and the glamour, the hardship and the thrill of Morocco and Spain in the late 1930s. The world of Casablanca comes to life as war breaks and Sira Quiroga, a beautiful and betrayed seamstress, is forced to discover her own strength. At a time when everyone must do what they can to survive, some will go beyond. Resistance will be formed and history will be written. Read this book and prepare to be transported.”

– Kate Morton, New York Times bestselling author of The Distant Hours

"Engaging, romantic, vivid and captivating. Who knew a story about a seamstress in Spain could be so intriguing and captivating? If you love thick, juicy female-led novels that sweep you away from all sense of time and responsibility, you need to read The Time In Between by María Dueñas."

– Kathy Cano-Murillo, author of Waking Up in the Land of Glitter and Miss Scarlet's School of Patternless Sewing

"Evocative, tender and lush; a wonderful experience of times and lives in turmoil."

– Diana Gabaldon, author of the New York Times bestselling Outlander novels

“This thrilling debut is marked by immaculate prose and a driving narrative, establishing Dueñas as a writer to watch.”

– Publishers Weekly (starred review)

"Packed with engaging characters, flawlessly researched, and breathlessly paced."

– Booklist (starred review)

"It is no surprise this debut novel was a runaway success in Europe. American fans of historical fiction looking for a dramatic, uncomplicated escape will be similarly entranced."

– Library Journal

"From a terrific opening line to the final page, chapters zip by at a pulsing pace."


"The Time in Between is a magnificent novel that flawlessly brings together history and intrigue. Sira Quiroga—the seamtress—won’t be easily forgotten.”

– Juan Gómez-Jurado, author of The Moses Expedition

"How can a novel be both cruel and tender, dark and luminous all at the same time, and keep the reader glued to its pages with a complex, captivating narrative? María Dueñas's novel manages to make this possible with a tale that is destined to become a literary classic."

– Javier Sierra, bestselling author of The Secret Supper and The Lady in Blue

"An enticing debut novel from Spain, The Time In Between is luxuriously landscaped with exotic geographies and international intrigue. María Dueñas delivers a hefty book that's as smooth to read as the tailored lines of the haute couture her unforgettable protagonist creates."

– Fabiola Santiago, author of Reclaiming Paris

“With its detailed depictions of fashions and the fashionable crowd, exotic settings like Portuguese beaches and crowded bars in Tangiers, and a growing sense of danger and intrigue, The Time In Between is a stunning novel.“

– Fort Worth Star-Telegram

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