There Are No Saints

ities. The Mission District, where Mara grew up, has seen particularly steep hikes in housing and rental costs, forcing many artists to Oakland or beyond. This mirrors Mara’s struggle to find affordable studio space and explains her gratitude for Cole’s subsidized rental. The novel captures how wealthy patrons like Cole can act as gatekeepers, controlling access to galleries, critics, and collectors through personal connections rather than merit.

This dynamic is visible in real-world art markets, such as Chelsea in New York, where gallery representation can cost emerging artists thousands in fees, effectively excluding working-class creators. Cole’s ability to orchestrate Mara’s inclusion in New Voices and secure her a broker demonstrates how financial privilege translates into cultural power. When Cole tells Mara, “[Y]ou absolutely need my help” (112), he articulates the reality that artistic success often depends more on whom one knows and what one can afford than on creative vision alone.