The prologue and epilogue of this novel contain their backstory as beautifully as the inro, the ancient Japanese pockets Tom brings home to England. What looks, on the inro’s outside, like one carving of four foxes turns out to be four fox compartments with invisible seams. So, too, Sarah Moss weaves a plot in the segues between alternating tales of Tom Cavendish’s Oriental travels as a lighthouse engineer and Ally, his bride’s, career as a new “mad-doctor.” Moss gives us readers a taste for the revolutionary courses her characters chart, both in their careers and in their unlikely family life, as we must imagine what transpires between the end of one chapter and the beginning of the next. Taking her own healing process as a model, newly-minted Dr. Ally Moberley Cavendish gropes to nurture recovery in a way traditional asylums cannot. Meanwhile, Tom is smitten by the mysterious structural as well as a cultural architecture in Japan. Both surrounded by lush landscapes, our heroine and hero present breath-taking portraits of a new paradigm of nineteenth century work and marriage.