There Are No Saints

Sophie Lark

55 pages 1-hour read

Sophie Lark

There Are No Saints

Fiction | Novel | Adult | Published in 2021

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Background

Social Context: Economic Inequality and Power Dynamics in Urban Art Communities

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.

Genre Context: Imbuing Dark-Romance Tropes With Psychological Realism

Lark’s novel operates within the dark-romance genre, which has gained significant popularity through platforms like “BookTok” on TikTok. This subgenre typically features morally ambiguous male protagonists, power imbalances, and intense psychological dynamics that would be concerning in reality but are romanticized within the fictional framework. Common tropes include the wealthy, controlling love interest and the vulnerable heroine who is simultaneously drawn to and endangered by him.


Cole embodies classic dark-romance archetypes: the mysterious millionaire with a violent past, the mentor who uses his power to manipulate, and the antihero whose darkness is presented as alluring rather than purely threatening. Mara’s discovery of her own “dark” impulses (for instance, the pleasure she takes in BDSM) exemplifies this dynamic, as it is Cole who shepherds her through this process. Moreover, the novel partially redeems some of Cole’s most problematic behavior when it transforms his surveillance of Mara from an act of voyeurism into one of protection.


However, Lark adds psychological realism that complicates easy consumption of these tropes. The novel doesn’t shy away from depicting the genuine trauma of manipulation and violence, showing Mara’s nightmares and hypervigilance alongside her attraction to Cole. This approach mirrors broader cultural conversations about consent and power dynamics in relationships, and movements like #MeToo have prompted reexamination of romantic narratives that normalize coercion. Lark forces readers to confront the real-world implications of the fantasy, creating tension between desire and danger that reflects contemporary anxieties about toxic relationships.

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