50 pages • 1 hour read
Brynne WeaverA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: Both the source text and this guide include graphic descriptions of incarceration, torture, sexual violence and abuse, domestic violence, gun violence, kidnapping, assault, murder, attempted murder, cruelty to animals, and the mutilation of corpses.
Lark straps fireworks to the thighs of her ex-lover, Andrew, then puts tape over his mouth. Lark asks him if he knows why he is in this situation. She mentions that he probably believes it is because he had sex with their friend Savannah. Lark tells him that this is not the reason for her attack. Then she thinks about why she was attracted to him in the first place. When she looked through his phone, she found out that he was actually a predator. She tells him, “[Y]ears ago, I promised myself one thing: Never again” (iii). Lark plays music as she lights the fuse on the fireworks and listens to Andrew’s screams. When she realizes that he is still alive, she shoots him in the head.
Lark stands on the edge of a reservoir, watching as a car sinks beneath the water, its male occupant, Jamie, still inside. Lark recently discovered that Jamie was a predator and approached him on social media, pretending to be a teen. They messaged each other until he begged her to meet him. Lark tried to shoot his tire out and failed, so she used her own SUV to run his car into a reservoir instead.
Now, when the car sinks, she calls her stepdad, who is having a Halloween party. He sends her the number of a “cleaner,” who comes three hours later. Lark immediately dislikes this man, whom she calls “Budget Batman.” He wears a wetsuit and a mask, and he is unpleasant to her. He assumes that she was drunk or was on her phone and had a car accident; he does not care that she killed someone. Budget Batman’s associate, Connor, tows away Lark’s damaged SUV as Budget Batman retrieves the body. Then he forces Lark into the trunk of his car despite her protests. She is deeply panicked at being in a dark, enclosed space, but she manages to break out of the trunk when he stops driving.
Chapter 2 begins one year after the previous chapter and opens with Leander throwing darts at a bound man named Robbie. Lachlan, his subordinate, takes part in the scene and reflects, “Can’t say this is the life I imagined for myself, pulling teeth with pliers and playing darts with some guy’s face in my boss’s basement on a Friday night” (23). Lachlan wants to leave, but Leander does not allow this. Instead, he insists that Lachlan throw a dart at Robbie.
Leander explains to Lachlan that Robbie was selling fentanyl to children; the children’s parents have hired Leander to torture and kill Robbie. A pizza delivery man arrives, and Lachlan retrieves the pizza. Lachlan wants to leave so that he can attend the opening of his brother’s restaurant. Leander blends the pizza and beer, along with some of Robbie’s teeth, and then forces Robbie to drink the slurry.
Lachlan wants to kill Leander, but he knows that Leander’s brothers would kill him and his own brothers if he did. Now, Lachlan shoots Robbie, killing him. Lachlan tells Leander that he wants to retire, but Leander refuses to allow this because Lachlan made a crucial mistake last year and lost business by putting someone from the Covaci family (Lark) in a trunk.
Lachlan goes to his brother Rowen’s apartment, and his brother Fionn lets him in. Several friends of Rowan and his girlfriend, Sloane, are present, including Lark. Sloane introduces Lark to Lachlan, and Lachlan thinks that Lark is the most beautiful woman he has ever seen. He focuses on Lark as the conversation continues around them, and he notices that she is very good at uplifting those around her. When she goes to the balcony, Lachlan follows her. They flirt, then kiss passionately.
Suddenly, Lark realizes that Lachlan is the same man who came to clean up her murder scene a year ago. Furious, she begins arguing with him; she doesn’t understand why he would kiss her if he knew who she was. He denies recognizing her and tells her that she ruined a contract that day. She counters by asserting that he ruined the contract with his poor customer service. However, because her best friend (Sloane) loves his brother (Rowan), she decides to ignore him. Lachlan feels disoriented by the situation.
The Phantom enters Rowan and Sloane’s apartment. He wants to get revenge for an unnamed event and has surveilled the couple for a long time. He also witnessed Lachlan and Lark’s interaction on the balcony and observed that “there was anger between them. But beneath it, there was need” (59). The Phantom is motivated by the Lord, whose voice he hears whispering to him. Because the Phantom wants to bring pain to Sloane, Lachlan, Lark, and Rowan, he decides that the worst thing he could do to Lachlan would be “to ensure anyone left behind believes he is the cause of Lark Montague’s destruction” (60).
One year later, Lark lets herself into her great aunt Ethel’s home, and her sister Ava greets her. Ava and Lark discuss the surprise elopement that Rowan is planning for Sloane. Aunt Ethel sends Lark a text, asking her to bring an item upstairs. Lark’s mom and stepdad (Nina and Damian) are meeting with an associate named Stan Tremblay. Lark overhears them talking about Lachlan Kane, so she eavesdrops and learns that many of Nina and Damian’s associates have recently been murdered. Tremblay says that Lachlan has the skill to do it and might blame Damian for getting Lachlan in trouble with his boss.
Lark’s parents discuss Rowan and consider the possibility of eliminating both him and Lachlan. However, her parents conclude the conversation without making a decision, and all three leave the room. When Lark gets to Ethel, she quickly realizes that Ethel wanted her to overhear this conversation; Ethel does not believe that either Rowan or Lachlan is involved in the murders. Ethel cryptically states, “It’s your happiness that is their priority. Your heart they can’t bear to break” (78). Ethel asserts that Lark’s parents would never hurt a man to whom she was married. Ethel then asks about Lachlan Kane.
Lachlan is escorting Sloane to her wedding, and she tells him to dance with her maid of honor, Lark. Sloane is anxious, and Lachlan comforts her. He walks her down the aisle to Rowan, who is crying. Lark is acting as the musician for the wedding, and Lachlan cannot help but admire her as he and Sloane walk down the aisle. After the wedding, they go to a restaurant in town and then go dancing. Lachlan realizes that his own life feels empty in comparison with his brother’s happiness. Lachlan’s other brother, Fionn, asks him why he has not asked Lark to dance.
Lark asks Lachlan to dance but shows little enthusiasm, and the two finally begin talking. Lark makes him a proposition. She can get his boss two contracts—the Montagues and the Covacis—which will give him his freedom. In return, she wants him to help her investigate the murders of her parents’ associates. When Lark tells him that they have to get married to prevent her parents from having him killed, Lachlan asserts that he can take care of himself. Then Lark explains that she believes her parents will also kill his brother Rowan. She urges him to make a decision by the end of the night.
It is Lark’s wedding day. She has just trapped another predator, Patrick O’Neill, and is in the process of encasing him in a plexiglass casket, which she is filling with resin. He yells at her and begs her to let him go, but he also admits to abusing children. Lark plans to use the resin-filled casket to make a coffee table. Patrick O’Neill suffocates as the resin is poured onto his face. When the entire casket is filled, Lark leaves it to cure as she returns to her apartment to prepare for her wedding to Lachlan.
Sloane picks Lark up and asks her why she would marry Lachlan when she seems to hate him. Lark tells Sloane to trust her, but Sloane continues to question her.
At the courthouse, Lark is surprised to see Aunt Ethel beside Lachlan. Ethel gives Lark her engagement ring and tells Lark that she is proud of her. Lachlan and Lark exchange vows, and Lachlan kisses lark as though she is “[h]is key to survival” (115). Lark kisses him back but feels sadness to think about all that she is giving up by marrying him.
Leather & Lark uses multiple perspectives to build suspense and romantic tension, and although the narrative primarily employs a straightforward alternating pattern to illustrate Lachlan’s and Lark’s thoughts and actions, the author also injects additional tension and mystery by including occasional chapters from the point of view of the ominous, unnamed “Phantom,” who is slowly but surely closing in on them both for reasons that have yet to be revealed. Thus, Brynne Weaver conforms to the enemies-to-lovers plotline with Lark and Lachlan’s chapters, even as she dabbles in the realm of dark romance by embroiling all three perspectives in a decided lust for violence.
The paradoxical hatred and underlying attraction that Lark and Lachlan feel for each other becomes the centerpiece of the novel’s conflict, seasoning each interaction with an edgy version of romantic tension. As Lachlan admits, “Even after she’s gone, that feeling remains, like something has shifted in the world that surrounds me. Like I’ve been displaced” (56). His ruminations foreshadow the novel’s focus on The Transformative Power of Love and Forgiveness because even in these early chapters, Lark’s presence in his life has already changed him in a way that he finds deeply uncomfortable. Even as Weaver’s classic use of the “enemies-to-lovers” trope deepens the romantic tension, the first chapter from the Phantom’s perspective introduces an element of dramatic irony; despite the protagonists’ clear skill at navigating the criminal underworld, they are still unaware of the sinister surveillance of this unknown foe.
The Challenge of Embracing Authenticity also becomes prominent in the opening chapters as Lark actively hides two key personal realities from the people closest to her. Although her friend Sloane is no stranger to murder herself, Lark persists in hiding her ongoing fixation on killing predatory men, and she conceals her activities from everyone in her life. She also declines to explain her reason for marrying Lachlan, and the unspoken tension surrounding the threats to her parents’ business—not to mention the threat that her own parents represent to Rowan and Lachlan—adds considerable complexity to the plot and compels Lark to continue hiding her true self in order to protect those she cares about. Notably, Lark does regret her habitual inauthenticity; while killing Patrick O’Neill, she reflects, “Not for the first time, I wish Sloane knew about this side of me” (100). Lark’s reticence about revealing her activities is never fully clarified, standing as an ambiguous and somewhat nonsensical detail, given that many of the people around her are also killers of one sort or another. For example, her family is involved in organized crime, and both Sloane and Rowan are serial killers as well (as established in Butcher & Blackbird, the first novel in the series). Lark also remains secretive even in more socially accepted matters; when Lark marries Lachlan to help protect both him and Rowan, she does not tell Sloane about the fact that Rowan’s life has been threatened. Instead, she presents a happy and carefree exterior that masks the darkness within. In this section, Lachlan recognizes Lark’s ability to focus on those around her, but he does not yet realize that she is hiding her true self. As such, he misjudges her and assumes that she is merely careless and cruel, nicknaming her “Blunder Barbie” for the apparent car accident that he is tasked with concealing.
However, as the two protagonists’ perspectives gradually reveal their inner thoughts and passions, this section also introduces The Healing Power of the Arts. Despite the inherent violence of his occupation, Lachlan creates beautiful leather art, including a wing that hangs in Rowan’s new restaurant. While Lachlan has been forced to work for Leander by either committing violence or cleaning up after other people’s violent acts, he would prefer to focus on restoring or creating leather pieces. Weaver uses this inner preference of Lachlan’s to mark the differences between his violent acts and Lark’s. Lachlan enacts violence only under duress, and there is no “art” in these particular killings. For example, although Lachlan helps Leander to torture Robbie, doing so turns his stomach, and when he shoots Robbie, the murder is portrayed as an act of mercy. By contrast, Lark goes to extravagant lengths to render each of her killings “artistic,” and she proudly turns her grisly trophies into elaborate works of art. When she murders her ex-boyfriend with fireworks while playing Katy Perry’s song “Firework,” this murder becomes a performance piece with a very limited audience—her victim. On her wedding day, she murders another predatory man by smothering him with resin and turning his casket into a coffee table. Despite the elaborately graphic nature of these acts, the novel’s tone presents her murders as darkly comedic because she uses glitter and roses to decorate the table, but these superficial trappings contrast sharply with the horror of encasing a body in resin and keeping it in her apartment.
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