Math-obsessed teenager Jamie O’Neill is raised by a single father after his mother died during childbirth. Literal-minded and sensitive, he keeps himself secure by making lists and working on his notes for a perpetual motion machine. So when he starts at a new school, run by the conservative Father Faulks and full of bullies, he’s soon spending most of his time in the classroom of Tess Mahon, a kind English teacher with her own fractured family: a dead mother, an alcoholic father, and a cold husband. They’re both drawn into the orbit of woodworking teacher Tadhg Foley, who proposes that an Irish boat, a currach, could satisfy Jamie’s desire for perpetual motion and keep him out of the sway of some of the more toxic boys. Feeney tracks both Jamie and Tess, and the sections following Jamie are the stronger. She uses a stream-of-consciousness first-person narration and poetic syntax to capture the boy (“I would like that solitude for this boat, / so / I resisted their invitation / but Mr Foley passed no notice”). Tess’ sections, written in a more traditional style, seem flat by comparison. The novel is an intensive probe of contemporary Irish society; the island’s culture of shame and silence is picked apart (one minor character exits with a defeated repetition of “We don’t talk about it”), as is the continuing influence of the Catholic Church. But the characters find meaning in the currach and as well in the concept of meitheal, or communal effort. Jamie’s conflict is to reconcile the haphazard construction of the boat and the perfect machine he has imagined. He must leave his comfort zone, just as Tess must leave the safe prison of her marriage.