Lockhart, E. (2025). We fell apart [Book cover]. Delacorte Press. Image used under fair use for purposes of commentary and review. The newest book in the “We were liars” collection was released Nov. 4.

The “We were liars” television series met completion this summer and the prequel book was well received, enriching e. lockhart’s world.

“We fell apart” is considered a standalone in the same world as “We were liars” and the prequel “Family of liars.” Though it’s entertaining on its own, the majority of the theme, many details, and hidden easter eggs would go completely under-appreciated without the context of the rest of the collection.

Lockhart sets the eerie stage with a mostly new cast and a few mysteries, creating a foggy tension as the curtains are drawn wide.

Drawn into the plot

Matilda is eighteen, has moved around her whole life with her single mom, and she has never known her father. Until she receives a blunt email.

Lockhart writes, ”Matilda, This is Kingsley Cello. I am an artist. I am your father. I know I have never been in your life, but I’d like to change that. There is a painting I want to give you. Please come see me at Hidden Beach for a visit.”

Vague and mysterious, I was drawn into this story by the intriguing questions lockhart leaves in the air. It’s also worth mentioning how a theme is already building in the early chapters. Matilda is passionate about video games and design, but these strong emotions are what lead to her boyfriend breaking up with her.

“I’m too needy, too driven, he says. My face is always in my sketchbook; it’s weird. He doesn’t see why I always have to have an opinion on every little thing. My feelings are on the surface all the time. I’m saying more than anyone wants to hear,” writes lockhart.

The situation may not be identical, but Lockhart describes one of our worst fears in scarily accurate detail. The desire to be so sincerely ourselves without judgement. Empathy blossoms easily as Matilda is told her true self is not appreciated in a relationship she cared about.

A more poetic structure

Another way lockhart builds tension is through the structuring of her writing. Similar to “The Grace Year” by Kim Liggett, lockhart lets the sections flow into each other. The only pause is by a chapter number. There is no skipping to the next page. Not only this but her paragraph structures are unique like “Shatter me” by Tahereh Mafi.

Lockhart lets sentences trail off, new paragraphs to create choppy pauses when readers think it should be a happy summary of a happy couple getting together. The unease this stirs allows the punch of “felt” and “didn’t,” the past tense, sneaking into the recap.

It’s a slow, numb descent into the realization that they break up, and this story she is telling is what used to be and not what is.

Lockhart’s style warps the realistic fiction of the story to feel as though it’s a fairytale. Similarly, in “Family of Liars” she uses the original story of Cinderella by the brothers Grimm as a metaphor for what the main character was capable of.

Her style is more present in this book than her others in the collection. I think it’s because Matilda is more connected to her creativity compared to the other narrators in the series. Her mystical descriptions of Matilda’s mom display this very well.

”Even at thirty-eight, Isadora looks like a tree nymph-earthy and feral and somewhat magical. She’s petite, with strong features and wild black curls. We look alike, if you describe us as only five foot two with lots of dark hair and big eyes. Isadora looks romantic. Creative men who like to feel strong and vital adore her. And she adores them,” wrote lockhart.

Maybe it’s the consistent references to timeless stories, for example, Greek mythology and Shakespeare make many appearances. It could also be her disregard for grammar, lockhart adds as many “ands” as she sees matches her rhythm.

Her writing feels more like a fairytale, as she references the classics, and goes against the normal writing structures. Whatever lockhart puts in her words makes the content feel surreal.

Details bring it to life

When Matilda inevitably goes to meet her father, he’s not there. Despite specifically inviting her, showing interest in being a father, and giving her hope that she might learn more about who she is, Kingsley is gone. Off doing business in various places.

The story eases into a sort of peace and bliss created by the dynamic between Matilda and the other boys on the island. Close, safe friendships are formed easily despite the turbulence of Matilda’s emotions in waiting for her father to arrive.

The comfortableness and sense of belonging in this almost isolated world of Hidden Beach lets the reader compare Matilda’s original setting, with people who do not understand her, to this new group who she has clearly bonded with quickly.

Lockhart wrote, “‘I’m already very pretty,’ says Brock. ‘You drew on me yesterday.’ ‘You’ll be even prettier.’ ‘Fine. Neurotoxin me up. When I die, the internet will be like, he kicked Ritalin but he was done in by an overdose of permanent marker.’ He flops over on his belly and Meer writes bubble letters across his back. LOSER. ‘You look gorgeous,’ I tell Brock. ‘I can read with my back skin,’ says Brock. ‘I know what he wrote. Meer, why are you such a little butt?’ ‘It’s my nature,’ says Meer.”

This interaction captures the meticulous character-building that lockhart does. Meer wants to be a tattoo artist so the group has become accustomed to drawing on or being drawn on by each other.

Well-rounded message

Later the theme of finding the right people for you morphs into the belief that creativity brings people together. Everyone at Hidden Beach is someone who was inspired by the art or free-spirit of her father, Kingsley.

The meaning can bend in many ways, it builds a lot off of the previous books to create a more underlying message about grief and moving on from past traumas to live a free, thoughtful life that is undoubtedly yours.

I give this novel an 8/10 for lockhart’s engaging style and poetic message carried through the three books.