Plot Summary
The Gallery of Bones
After a scathing review, Cole1 lures the critic Carl Danvers to his studio, strangles him with a garrote, and butchers the body. He files down the bones, dips them in gold, and mounts them into a sculpture titled Fragile Ego, displayed at the Oasis gallery to ecstatic crowds and a $750,000 sale.
At the same show, Cole1 notices a skinny girl, Mara,2 who cleverly tie-dyes her wine-stained dress. His rival Alastor Shaw,3 a fellow serial killer, jeers at Cole1's flicker of interest. Weeks later, Alastor3 abducts Mara,2 pierces her nipples, binds her, and leaves her bleeding near Cole1's remote dumping ground, a barbed gift meant to provoke him.
This opening establishes Cole as a predator who fuses violence with creation, treating murder as artistic expression. His contempt for Alastor's lack of discipline underscores his own belief in superiority. Mara's first appearance, turning mishap into beauty, foreshadows her resilience and becomes the hook that later captures Cole's obsessive attention. Alastor's act of gifting a body crystallizes the twisted dynamic between the two killers, initiating the central conflict.
Left for the Wolves
Cole1 discovers Mara2 nearly dead on the cold path near his mine. He recognizes her, feels a brief temptation, but refuses to let Alastor3 manipulate him. He steps over her body and continues on. Unseen by Cole,1 Mara2 fights through shock and blood loss.
She saws through her bonds with a rock, stumbles for miles along a dark road, and flags down a passing car. She wakes in a hospital with forty-nine stitches in her wrists. The police dismiss her story, citing her history of self-harm. She returns to her crowded artist's house, burying the trauma underneath work shifts and painting deadlines.
This beat crystallizes both characters: Cole's will to power through non-engagement, and Mara's ferocious will to survive. Her escape against all odds transforms her from a disposable victim into an anomaly in Cole's world. The police's disbelief reinforces her isolation and primes her for Cole's later manipulation, while her decision to hide the truth from friends reveals her instinct for self-protection through silence.
The Watcher in the Window
Cole1 learns from Alastor3 that Mara2 lived. His cold curiosity ignites into compulsion. He follows her through the city, breaks into her attic room, and masturbates into her discarded underwear. He then rents a Georgian townhouse behind her dilapidated Victorian, cuts a hole in the library window, and installs a telescope.
From there he spies on her nightly, watching her strip, sleep on the balcony, and touch herself during a rainstorm. Each session deepens his fixation, blurring the line between aesthetic appreciation and carnal need.
Cole's voyeurism extends his artistic impulse: he studies Mara as raw material. The violation of her space reveals his belief that boundaries don't apply to him, but his growing emotional dependence on her image complicates his psychopathic detachment. The rain scene, where she writhes naked and unselfconscious, becomes a living artwork that stirs both jealousy and longing, emotions he has never before experienced.
A Studio with Strings
Cole1 arranges for Mara2 to receive a heavily discounted studio in his building and a grant application from the Artists Guild. When the panel visits, she locks eyes with Cole1 and freezes: he is the man who watched her die. Afterward, she corners him in an empty room.
He admits he was there but denies being the attacker,3 then coldly threatens to ruin her if she speaks. He offers mentorship instead. Trapped by poverty and her own distrust of authorities, she accepts the dangerous bargain, moving her supplies into the sunlit loft the next day.
This confrontation is the first direct battle of wills. Cole weaponizes Mara's economic precarity and history of being disbelieved to cage her, while she must reconcile her benefactor with the monster. Her decision to stay, despite terror, reveals both pragmatism and a deeper, unacknowledged attraction to the darkness. The studio becomes a gilded cage where the roles of prey and protégé blur.
The Protégé's Kiss
Cole1 drives Mara2 to perfect her painting The Mercy of Men, a self-portrait as a pierced saint. On the night of New Voices, she deliberately walks to the gallery alone. Her canvas stuns the crowd. When Cole1 arrives raging, she silences him with a kiss in front of everyone.
Later, after accolades, she kneels to unbuckle his belt in an empty office, but he cruelly suggests she also service a dealer. She refuses, storms out, and takes a tattoo artist named Logan7 back to her studio, where she knows Cole1's security cameras will capture every moment of their paint-smeared sex.
Mara's painting, born from trauma, becomes her voice, and her public kiss reclaims agency in the narrative. Cole's attempt to degrade her by sharing reflects his fear of genuine intimacy; he'd rather reduce her to an object than risk vulnerability. Her retaliation with Logan is both self-destructive and tactical: she forces Cole to witness her with another man, mirroring his own voyeuristic violations and proving she will never be wholly possessed.
Shattered Glass, Shattered Control
Cole1 watches the live feed of Mara2 and Logan7 laughing, rolling in paint, and having sex across her canvas. Enraged and aroused, he masturbates to the image. The next morning, he finds she has hung the paint-streaked canvas in his office with the title 'The Best Night of My Life.'
Overcome by an emotion he eventually identifies as regret, he seizes a golf club and obliterates his treasured Olgiati solar model, a Venetian glass masterpiece worth millions. He sits among the shards, realizing he wishes it had been him with her that night instead of the stranger.
The smashing of the Olgiati is the novel's symbolic hinge. Cole destroys something irreplaceable and beautiful because it can no longer compare to his need for Mara. This marks the first time he regrets an action, signaling the erosion of his psychopathic control. The painting she leaves is a taunt but also a gift: a work of revenge now occupying the place where his most prized possession once hung.
Marked in Ink and Blood
Cole1 hunts down Logan,7 intimidates him, and takes his tattoo gun. He handcuffs Mara2 in her studio, tears off her shirt, and begins inscribing a wild garden with a serpent on her ribs. With his free hand, he strokes her pussy in perfect counterpoint to the needle's bite, forcing her to orgasm as he completes his mark.
Afterward, he hands her the gun and bares his back. She designs two entwined snakes, one pale and one dark, and tattoos them along his spine. They work until dawn in shared pain and creative absorption.
The mutual tattooing is a dark sacrament. Cole's inscription on her body erases the mark left by another man and claims her as his creation. The simultaneous pleasure rewires her trauma responses, fusing surrender with sensation. Her tattoo on him, a yin-yang of serpents, reflects her reading of his dual nature and reclaims agency. This act binds them in permanent ink, a violent but tender exchange of trust that neither can walk away from.
The Devil at the Party
Dressed as a stone statue and Medusa, Cole1 and Mara2 attend the Halloween party. Alastor,3 in camouflage, intercepts them. His face cycles through shock and glee when he recognizes the woman he left for dead.2 Cole1 physically shields her, issuing a warning.
Later, to frighten her into staying close, Cole1 strips off his social mask and confesses that he filets people with precision while Alastor3 does it badly. Mara2 finally understands the full depth of his monstrosity, and she realizes he is also the only one standing between her and Alastor3's next kill.
Cole's vulnerability is exposed to his rival. His instinct to shield Mara reveals a protective impulse that contradicts his self-image as a detached predator. For Mara, this is the moment she sees both monsters clearly: Alastor as reckless violence, Cole as controlled lethality. The choice to stay with Cole after this revelation is her acknowledgment that his darkness, disciplined and directed, might be her only refuge.
The Truth in the Rain
Replaying fragments of her abduction, Mara2 solves the puzzle. Alastor3 kidnapped her specifically to leave for Cole,1 expecting him to finish the kill. Cole1's refusal made her a living defiance. Late one night at a laundromat, Cole1 finds her.
He presses her against the industrial dryer, its vibrations humming through her body, and admits he has been watching her constantly to protect her from Alastor.3 She demands that he take her to his private studio, the one place she has always wanted to see. He agrees, setting a time for the next night.
This beat is the intellectual climax. Mara's detective work transforms her from victim to informed participant. Understanding the game changes the rules; she can now engage Cole as an equal in a twisted dynamic. The laundromat, with its rhythmic machine, foreshadows the implements of control Cole will later build for her. Her demand to see his creative sanctum signals a reaching for the truth behind all his masks.
The Table of Mercy
Cole1 prepares his industrial studio to kill Mara,2 yet when she arrives, she strips naked and climbs onto the table, extending her wrist for the manacle. He binds her and uses a custom-built vibrator, spanking her rhythmically until she sobs out the secret of her stepfather's abuse.
He then takes her anally, controlling her orgasms through waves of pain and pleasure. Instead of killing her, he bathes her, feeds her, and they watch Labyrinth in bed. For the first time, he tells her, 'I see you.'
This is the emotional climax. Cole's decision to spare Mara is a triumph of attachment over his lifelong need for absolute control. Her willing submission, echoing childhood trauma but under her own terms, recontextualizes helplessness as trust. By extracting her deepest shame, he mirrors his own vulnerability when he acknowledges seeing her fully. The act becomes a mutual exorcism, the restraint and vibrator functioning as instruments of consent rather than coercion.
Ophelia in the Attic
Cole1 drives Mara2 home in the morning. She finds her bedroom door locked from inside. Forcing it open, she discovers Erin4's body laid on her soaking wet mattress, dressed in a vintage gown, surrounded by flowers, posed precisely like Millais's painting of the drowned Ophelia.
She screams. The police arrive and she accuses Alastor,3 but he has an alibi. Detectives question her for hours, skeptical. Cole1 storms the station with lawyers, retrieves her, and declares she will now live with him in his mansion on the sea cliffs.
Erin's death as Ophelia is Alastor's artistic signature and a violation of Mara's sanctuary. The painting reference turns murder into message: he can reach anyone she loves. The police's disbelief re-traumatizes Mara, reinforcing the novel's theme that institutions fail victims. Cole's arrival as protector, and his immediate assertion of control over her living situation, completes the arc: the predator becomes her sanctuary.
Take Me Home
Outside the police station, under the cold night sky, Cole1 tells Mara2 that he is the only one who can protect her now. He lays out his terms: she will stay in his house, never leave his side, and when the moment comes, he will deal with Alastor3 his own way.
She places her hand in his. He kisses her, a promise sealed in flesh, and she says, 'Take me home.' They drive into the fog toward his sea cliff estate, united against the coming storm.
The ending reframes the romance at the border of horror and hope. Mara's choice is coerced by circumstance, yet she steps into it with open eyes, knowing exactly what Cole is. Her words evoke a homecoming, but the home is a killer's lair. The couple's bond, forged through shared secrets and permanent marks, is now an alliance against a common enemy. The novel closes not with redemption, but with a pact: two dark souls choosing to navigate the abyss together.
Analysis
This novel operates as a dark mirror of gothic romance, replacing the brooding lord with a literal predator1 and the imperiled heroine with a survivor2 whose trauma is the source of her strength. The central thesis is that complete understanding, even of the monstrous, is a more intimate bond than romantic love built on illusion. Cole1 and Mara2 connect not despite their darkness but through it; his violence and her history of abuse create a shared language of control and release. The art world setting reinforces the theme: beauty can be made from bones, and destruction can precede creation. The novel provocatively asks whether a man without conscience1 can develop one through obsession, and whether a woman repeatedly failed by institutions2 can find safety in the arms of a killer.1 The dual point of view structure functions as mutual surveillance, each narrator studying the other, until the boundary between watcher1 and watched2 dissolves. Ultimately, the story argues that healing does not require goodness; sometimes it demands only that someone finally sees you exactly as you are and does not flinch.
Review Summary
There Are No Saints received mixed reviews. Some readers loved the dark romance between serial killer Cole and artist Mara, praising the chemistry and plot twists. Others found the writing poor, characters underdeveloped, and plot absurd. Many noted the book's entertainment value despite its flaws. Critics highlighted issues with consent and graphic violence. The book's portrayal of artists and killers intrigued some readers while alienating others. Overall, it's a divisive read that appeals to fans of dark, twisted romances.
People Also Read
Characters
Cole Blackwell
Sculptor and secret serial killerA wealthy, prodigiously talented San Francisco sculptor in his early thirties. Beneath his elegant exterior, he is a seasoned killer who treats murder as high art, prizing control and precision above all. He views normal human emotions as weaknesses to be studied and mimicked. His chance encounter with Mara2 fractures this detachment, triggering obsessive voyeurism, jealousy, and a protective drive he cannot rationalize. Through her, he experiences regret, longing, and eventually a form of love that terrifies him more than any threat to his life.
Mara Eldritch
Survivor and emerging artistA twenty-six-year-old struggling artist working three jobs to stay afloat. Her childhood was marked by an alcoholic, manipulative mother and a stepfather who physically abused her under the guise of punishment. She is fiercely independent, perceptive to the point of paranoia, and reflexively defiant. After surviving a kidnapping and near-death experience, she refuses to be broken. Her attraction to Cole1 is both self-destructive and empowering; she sees the monster1 beneath his masks and still chooses him, demanding he see her in return.
Alastor Shaw
Rival artist and beastly killerA physically imposing painter and serial killer known in the media as the Beast of the Bay. He is the hedonistic, impulsive counterpoint to Cole1's controlled predation. Desperately envious of Cole1's talent and discipline, he seeks to provoke Cole1 into losing control, first by gifting him a victim, later by targeting those close to him. His art and his murders both rely on shock and excess.
Erin Wahlstrom
Mara's roommate and friendA curvaceous, confident redhead who shares the artist's house with Mara2. She briefly hooks up with Alastor3, unknowingly becoming the bridge that brings him into Mara2's life. Her warmth and sexual openness contrast with Mara2's guarded nature, and her death devastates Mara2, cementing the threat Alastor3 poses.
Sonia Bridger
Cole's efficient assistantCole1's loyal and perceptive property manager. She handles the practical arrangements that allow Cole1 to insert himself into Mara2's life, including the discounted studio and the grant panel. While she senses Cole1's darker nature, she remains professionally devoted, serving as a fairy godmother figure to Mara2 while maintaining plausible deniability.
Joanna
Responsible housemateOne of Mara2's roommates, a tall black woman who keeps the chaotic household functioning. She provides emotional and practical support, covering Mara2's rent when needed and offering steady counsel. Her presence anchors the novel's depiction of chosen family among struggling artists.
Logan Mickelson
Tattoo artist used for revengeA local tattoo artist who once inked a snake on Mara2's ribs. She uses him for a one-night stand specifically to wound Cole1, knowing the cameras will broadcast their paint-covered sex. Cole1 later intimidates him into handing over his tattoo gun, and Logan wisely vanishes from the scene.
Officer Hawks
Detective on Erin's caseA methodical police detective in his late thirties who investigates Erin4's murder. Unlike his dismissive colleague, he treats Mara2 with some respect, but the lack of physical evidence forces him to release the prime suspect. His limitations mirror the systemic failure that Mara2 has experienced before.
Plot Devices
Security and surveillance cameras
Enable Cole's voyeurism and Mara's revengeCole1 installs cameras throughout his studio building, claiming they are for security. The feed allows him to watch Mara2 work, and he uses the footage to study her preferences. Mara2 discovers the cameras and deliberately performs for them, most notably by having sex with Logan7 on the studio floor, a display she knows Cole1 will witness and that will drive him to jealous fury.
The Olgiati solar model
Symbol of Cole's controlled world, destroyedA priceless, one-of-a-kind Venetian glass sculpture of the solar system, purchased by Cole1 with his inheritance after his father's death. He prizes it above all his possessions. After watching Mara2 with another man, he destroys it with a golf club in a rage, an act that represents his loss of the emotional detachment that has defined him and his acceptance that Mara2 now occupies a more central place in his psyche than even his most treasured art.
The tattoo gun
Instrument of mutual claimingCole1 acquires a tattoo gun from Logan7 and uses it to inscribe a floral snake design on Mara2's ribs while simultaneously bringing her to pleasure. He then demands she tattoo his back with two entwined serpents. The device transforms pain into intimacy, marking their bodies as permanent records of their bond and erasing the symbolic presence of other men from Mara2's skin.
Custom vibrator
Tool of control and ultimate surrenderCole1 designs and builds an industrial-strength vibrator specifically for Mara2's body, testing frequencies at the laundromat dryer she rested against. During the climactic BDSM scene, he uses it to overwhelm her with pleasure while simultaneously spanking a confession of her childhood abuse from her. The device represents both his engineering genius and his desire to know her body better than she knows it herself.
Fragile Ego sculpture
Merges murder with public artCole1's sculpture made from the gilded bones of the murdered critic Carl Danvers. He displays it openly at a gallery, where it sells for a fortune. Alastor3 recognizes the bones' origin, and the piece stands as Cole1's most brazen statement of his belief that death can be transformed into beauty, and that his victims are merely raw materials for his genius.
FAQ
0. Synopsis & Basic Details
What is There Are No Saints about?
- Art World Rivalry: There Are No Saints plunges into the cutthroat San Francisco art scene, where two acclaimed but morally ambiguous artists, Cole Blackwell and Alastor Shaw, are locked in a dangerous rivalry that extends far beyond their canvases. Their competition is fueled by a dark undercurrent of secrets and a shared, violent past.
- Mara's Unwitting Entanglement: Mara Eldritch, a struggling artist with a fierce spirit and a traumatic past, inadvertently becomes a pawn in their deadly game. After a harrowing encounter that leaves her brutalized and abandoned, she finds herself drawn into Cole Blackwell's orbit, who offers her a studio and mentorship.
- A Descent into Obsession: As Mara's art flourishes under Cole's intense guidance, their relationship blurs the lines between mentor and captor, desire and control. The story explores themes of power, obsession, and the complex, often disturbing, nature of human connection, as Mara navigates a world where the beautiful and the monstrous are inextricably linked.
Why should I read There Are No Saints?
- Intense Psychological Thriller: Readers seeking a dark, character-driven romance with a strong psychological edge will find There Are No Saints compelling. It delves deep into the minds of its morally gray protagonists, exploring their motivations and the disturbing evolution of their relationships.
- Unique Artistic Setting: The novel offers a fascinating glimpse into the high-stakes, often brutal, world of contemporary art, using artistic creation as a metaphor for the characters' destructive and transformative impulses. The detailed descriptions of art and the creative process add a rich layer to the narrative.
- Unflinching Exploration of Trauma: The book tackles themes of trauma, control, and resilience with an unflinching gaze, portraying a heroine who, despite immense suffering, refuses to be broken. It challenges readers to question conventional notions of good and evil, and the complex ways individuals cope with their past.
What is the background of There Are No Saints?
- San Francisco Art Scene: The novel is set against the backdrop of the San Francisco art scene, depicted as incestuous and highly competitive, where reputation and influence are as crucial as talent. This setting provides a modern, gritty context for the characters' ambitions and dark activities.
- Psychological Exploration: The author notes that writing the book was "intense therapy," suggesting a deep personal engagement with themes of mental health, pain, and self-acceptance. This background informs the raw, introspective psychological analysis of the characters, particularly Mara's internal struggles.
- Genre Conventions & Subversion: While rooted in dark romance, the narrative subverts typical genre expectations by exploring the blurred lines between villain and hero, and the complex, often disturbing, nature of attraction and control, pushing boundaries beyond conventional romance tropes.
What are the most memorable quotes in There Are No Saints?
- "I am better. Because whatever I do, I'm always in control." (Cole Blackwell): This quote encapsulates Cole's core philosophy and his defining characteristic – an unwavering belief in his absolute control over himself and his environment, setting him apart from Alastor and most other characters. It highlights his psychopathic tendencies and his self-perception as superior.
- "I'm not fucking dying here." (Mara Eldritch): Uttered by Mara after being left for dead, this powerful declaration reveals her indomitable will to survive and her fierce defiance in the face of unimaginable trauma. It becomes her mantra, symbolizing her resilience and refusal to succumb to victimhood, a central theme in her character arc.
- "There is no god outside you. You are god. This is your world, your life. YOU decide what to feel." (Cole Blackwell): This chilling yet liberating statement from Cole to Mara represents the ultimate expression of his nihilistic worldview and his attempt to indoctrinate her into his philosophy of absolute self-determination. It challenges societal norms and offers a radical perspective on personal agency and morality.
What writing style, narrative choices, and literary techniques does Sophie Lark use?
- Dual POV & Intimate Access: Sophie Lark employs a dual first-person point of view, alternating between Cole and Mara. This narrative choice provides intimate, unfiltered access to their complex internal monologues, allowing readers to experience their twisted desires, fears, and evolving perceptions directly, enhancing the psychological depth.
- Sensory-Rich & Visceral Prose: The writing is highly sensory and visceral, particularly in descriptions of violence, physical sensations, and artistic processes. Lark uses strong, often unsettling, imagery ("coppery blood," "sickly-sweet perfume," "flesh so tender that it would bruise") to immerse the reader in the characters' intense experiences and perceptions.
- Symbolism & Foreshadowing: Lark subtly weaves in symbolism and foreshadowing, often through recurring motifs like art, animals (hawk, rabbit, snake), and environmental details (fog, rain, specific locations). This technique enriches the narrative, hinting at deeper meanings and future events without explicitly stating them, inviting reader interpretation.
1. Hidden Details & Subtle Connections
What are some minor details that add significant meaning?
- Mara's Battered Docs & Tie-Dye Dress: Her "battered Docs" and the impromptu tie-dye of her wine-stained dress (Chapter 1) are subtle indicators of Mara's resourcefulness, artistic ingenuity, and defiance of convention. This contrasts sharply with Cole's meticulous, controlled aesthetic, yet it's precisely this raw creativity that first captures his attention, hinting at their complementary yet clashing natures.
- Cole's Olgiati Solar Model: The "Olgiati" solar model, a unique and irreplaceable glass sculpture, symbolizes Cole's pursuit of perfection, control, and his detached appreciation for beauty. Its violent destruction by Cole (Chapter 19) after Mara's "The Best Night of My Life" painting appears in his office signifies a profound loss of his characteristic control and the emergence of raw, unmanaged emotion, specifically jealousy and regret, due to Mara's influence.
- Mara's Book Choices: Mara's reading list, including Dracula, Prometheus Illbound, and The Butterfly Garden (Chapter 7, 27), subtly foreshadows and reflects her journey. Dracula serves as a "cautionary tale" about seduction and being devoured, directly paralleling her relationship with Cole. Prometheus Illbound's quote, "I do not love men: I love what devours them," hints at her own dark fascinations and acceptance of dangerous power dynamics.
What are some subtle foreshadowing and callbacks?
- Cole's "Uneventful" Weekend: Cole's dismissive "Uneventful" reply to Alastor about his weekend (Chapter 1), immediately after the news of a girl murdered at Sutro Baths, subtly foreshadows his involvement in the art of murder. It establishes his cold detachment and sets up the later reveal of his "Fragile Ego" sculpture containing Danvers' bones, a direct callback to his "uneventful" yet deadly activities.
- Mara's Sensory Issues & Fliching: Mara's consistent flinching from touch, especially around her ears, and her heightened sensory awareness (Chapter 6, 8) are subtle callbacks to her childhood trauma with her stepfather. This deep-seated sensitivity explains her initial aversion to physical intimacy and her later, complex reactions to Cole's touch, which both triggers and soothes her.
- The "Beast of the Bay" & Alastor's Absence: The recurring mention of the "Beast of the Bay" murders and Alastor's unexplained absence from the New Voices show (Chapter 20, 27) subtly foreshadows his direct involvement in Erin's murder. Cole's immediate suspicion and later confirmation of Alastor's "frenzy" and "cycle" of three kills connect these seemingly disparate events, revealing Alastor's predictable, brutal pattern.
What are some unexpected character connections?
- Sonia Bridger's Past as a Waitress: Sonia's casual remark, "I was a waitress, too, once upon a time" (Chapter 10), creates an unexpected connection with Mara, highlighting a shared experience of struggle and ambition. This detail humanizes Sonia beyond her role as Cole's efficient assistant and subtly reinforces her empathy and support for Mara's artistic journey.
- Logan Mickelsen's Tattoo & Cole's Reaction: Logan, the tattoo artist who gave Mara her snake tattoo, becomes an unexpected point of connection and conflict between Mara and Cole. Cole's violent confrontation with Logan (Chapter 21) and his subsequent decision to tattoo Mara himself, replacing Logan's mark with his own "wild garden," reveals a possessive, territorial instinct that transcends mere rivalry, marking Mara as his property.
- Arthur's Paternalistic Observations: Mara's boss, Arthur, despite his gruff exterior, offers surprisingly insightful and almost paternal observations about Cole's wealth and intentions (Chapter 14). His persistent teasing about Cole being Mara's "boyfriend" and his willingness to cover her shift creates an unexpected, albeit minor, supportive connection that contrasts with the darker, more manipulative relationships in Mara's life.
Who are the most significant supporting characters?
- Sonia Bridger: The Discerning Gatekeeper: Sonia serves as Cole's astute and loyal assistant, acting as a gatekeeper to his world and a conduit for his influence. Her quiet observations and subtle understanding of Cole's true nature ("Why are you always so averse to anyone knowing you're a good guy?") make her a significant, albeit understated, character who provides external validation of Cole's complex motivations and Mara's talent.
- Erin Wahlstrom: The Catalyst & Victim: Erin, Mara's roommate and friend, is crucial as a catalyst for several plot points. Her casual hookup with Alastor Shaw and the subsequent theft of her ID directly lead to Mara's kidnapping. Later, her tragic murder by Shaw, intended for Mara, serves as a devastating turning point, forcing Mara to confront the full extent of the danger she's in and solidifying her alliance with Cole.
- Officer Hawks: The Persistent Skeptic: Officer Hawks represents the external, conventional world's attempt to understand the dark underbelly of the art scene. His skeptical yet persistent investigation into Erin's murder and Mara's past trauma highlights the difficulty of believing victims and the limitations of the justice system against powerful, cunning individuals like Cole and Alastor. He acts as a foil, pushing Mara to make difficult choices.
2. Psychological, Emotional, & Relational Analysis
What are some unspoken motivations of the characters?
- Cole's Quest for Stimulation: Cole's underlying motivation is a profound boredom and a constant search for stimulation, as he explicitly states, "I'd rather be dead than bored." (Chapter 26). This unspoken drive explains his meticulous planning, his artistic pursuits, and his fascination with Mara, who provides an unprecedented level of intrigue and emotional complexity that alleviates his ennui.
- Mara's Need for Control & Agency: Beyond survival, Mara's unspoken motivation is a deep-seated need for control over her own life and body, stemming from her traumatic past. Her defiance against Cole's attempts to dominate her, her insistence on her own artistic vision, and her eventual willingness to embrace her own darkness are all manifestations of this profound desire for agency.
- Alastor's Desire for Validation from Cole: Alastor's actions, particularly leaving Mara for Cole to find, are driven by an unspoken, desperate need for Cole's acknowledgment and validation. He seeks to prove his superiority or at least equality, believing that by mirroring Cole's dark "art," he can finally earn his rival's respect, even if it's through shared depravity.
What psychological complexities do the characters exhibit?
- Cole's Controlled Psychopathy & Emerging Humanity: Cole exhibits traits of a high-functioning psychopath – a lack of empathy, intense control, and a focus on personal gratification ("I do what I want. I get what I want. Always. Every time."). However, his unprecedented jealousy and regret over Mara (Chapter 19) reveal a psychological complexity, suggesting a nascent, unsettling form of emotional connection that challenges his self-proclaimed detachment.
- Mara's Trauma-Informed Resilience: Mara's psychological complexity lies in her ability to transform profound trauma into resilience and artistic expression. Her "sensory issues" and flinching (Chapter 8) are direct results of her past abuse, yet she channels this pain into her art, creating powerful pieces like "The Mercy of Men." Her willingness to confront her abusers, even indirectly, showcases a deep psychological strength.
- Alastor's Impulsive Sadism & Envy: Alastor's psychological profile is characterized by impulsive sadism and overwhelming envy. His "frenzy of beating and mutilation" (Chapter 1) and his crude, objectifying view of women ("as fresh as you can find one these days") highlight his depravity. His actions are less about control and more about raw, unbridled impulse, contrasting sharply with Cole's calculated precision.
What are the major emotional turning points?
- Cole's Jealousy at the Restaurant: A major emotional turning point for Cole occurs when he witnesses Mara's date touching her at the restaurant (Chapter 9). His internal reaction – "a sharp spike of fury" and the unprecedented feeling of "jealousy" – marks a significant shift from his usual detached observation, indicating a burgeoning emotional attachment to Mara that he struggles to comprehend or control.
- Mara's Confrontation in the Studio: Mara's decision to confront Cole in his studio (Chapter 11) about leaving her to die is a pivotal emotional turning point. Despite her terror, her defiance and refusal to be gaslit ("I know what I saw that night") demonstrate her burgeoning strength and her refusal to be a passive victim, setting the stage for a more active role in their dynamic.
- Cole's Destruction of the Olgiati: Cole's impulsive destruction of his prized Olgiati solar model (Chapter 19) after seeing Mara's "The Best Night of My Life" painting is a powerful emotional climax for him. This act of self-destruction, driven by "regret" and a loss of control, signifies the profound impact Mara has had on his carefully constructed emotional fortress, marking a point of no return in his psychological journey.
How do relationship dynamics evolve?
- From Predator-Prey to Obsessive Mentor-Protégé: The relationship between Cole and Mara evolves from a chilling predator-prey dynamic (Cole observing Mara left for dead) to an obsessive mentor-protégé bond. Cole's initial "gift" of the studio and grant money (Chapter 10) establishes a power imbalance, but Mara's artistic talent and defiance gradually shift this, making her an object of fascination rather than just a victim.
- Shifting Control & Mutual Fascination: The dynamic between them becomes a complex dance of shifting control. Cole initially seeks to manipulate and control Mara, but her stubbornness and ability to provoke strong emotions in him ("Why do I like that?" - Chapter 26) lead to a more reciprocal, albeit still dark, fascination. They become mirrors for each other's hidden depths.
- Shared Trauma & Unconventional Intimacy: Their relationship deepens through shared experiences of trauma and an unconventional form of intimacy. Mara's willingness to reveal her past to Cole (Chapter 14) and their intense, boundary-pushing sexual encounters (Chapter 30) forge a bond that transcends typical romance, rooted in a mutual understanding of darkness and a unique form of acceptance.
4. Interpretation & Debate
Which parts of the story remain ambiguous or open-ended?
- Cole's True Intentions for Mara: While Cole eventually admits to caring for Mara, the precise nature of his initial decision not to kill her and his subsequent "protection" remains ambiguous. Was it always a calculated move to possess her, or did a genuine, albeit twisted, affection develop from the moment he saw her resilience? The text suggests both possibilities, leaving it open to interpretation.
- The Extent of Cole's Psychopathy: The story leaves the full extent of Cole's psychopathy open-ended. While he admits to killing ("I filet people with precision"), the narrative doesn't fully explore his past victims or the specific motivations behind those acts beyond his stated "boredom" and desire for control. This ambiguity allows readers to debate whether his connection with Mara truly "changes" him or merely redirects his destructive impulses.
- Mara's Agency vs. Manipulation: A key debate revolves around Mara's agency. While she consistently defies Cole and asserts her will, the fact that she repeatedly returns to him and accepts his "help" (even when she suspects his dark nature) raises questions about the extent to which she is truly making free choices versus being subtly manipulated or drawn in by a Stockholm Syndrome-like dynamic.
What are some debatable, controversial scenes or moments in There Are No Saints?
- Cole's Decision to Leave Mara for Dead: The most controversial moment is Cole's initial encounter with Mara, bound and bleeding, where he "step[s] over her and carr[ies] on [his] way" (Chapter 3). This scene is highly debatable as it establishes his extreme detachment and moral depravity, challenging readers to reconcile this act with his later "protective" behavior and the developing romance.
- The Non-Consensual Tattooing and Spanking Scene: The scene where Cole tattoos Mara and then spanks her (Chapter 22, 30) is highly controversial due to its themes of non-consensual acts and the exploration of pain and pleasure. While Mara eventually finds pleasure and a form of release, the initial lack of consent and the power dynamics involved spark debate about the nature of their relationship and the boundaries of dark romance.
- Mara's Choice to Move in with Cole: Mara's final decision to move in with Cole, despite knowing his violent nature and his role in her initial trauma ("Take me home." - Chapter 32), is a deeply debatable moment. It forces readers to confront the complexities of trauma bonds, the allure of power, and whether her choice represents true agency or a dangerous surrender to a destructive force.
There Are No Saints Ending Explained: How It Ends & What It Means
- A Dangerous Alliance Forged: The novel concludes with Mara choosing to move into Cole's house, accepting his "protection" against Alastor Shaw, who has just murdered her roommate, Erin. This decision solidifies their dangerous, unconventional alliance, where Mara willingly places herself under Cole's control, believing he is the only one who can keep her safe from Shaw and perhaps, from herself.
- The Blurring of Good and Evil: The ending signifies a complete blurring of traditional moral lines. Mara, having been branded by Cole with a beautiful yet possessive tattoo, and having participated in a deeply transgressive sexual encounter, embraces the "bad things" that feel good. Cole, in turn, has experienced unprecedented emotions like jealousy and regret, suggesting a crack in his psychopathic facade, though his core nature remains predatory.
- A New Beginning, Not a Resolution: The final lines, "Cole & Mara are just getting started," indicate that this is not a resolution but a new beginning for their complex relationship. It implies their journey into darkness and mutual obsession will continue, with Mara as Cole's "sculpture" and "protégé," and Cole as her "devil." The ending leaves readers contemplating the true cost of their bond and the potential for further transformation or destruction.
Sinners Series
About the Author
Download PDF
Download EPUB
.epub digital book format is ideal for reading ebooks on phones, tablets, and e-readers.
