In the original dustsheet. Black cloth binding with gilt title on the spine.

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At the end of Bridget Jones’s Diary, Bridget hiccuped off into the sunset with man-of-her-dreams Mark Darcy. Now she discovers what it is like when you have the man of your dreams actually in your flat and he doesn’t do the washing up, not just the whole of this week, but ever.

Review

7:15 am –  Hurrah! The wilderness years are over. For four weeks and five days now I have been in a functional relationship with an adult male thereby proving I am not a love pariah as previously feared. So begins The Edge of Reason, Bridget Jones’ hilarious foray into the not-so-sexy realities of relationships, the laughable legions of self-help theories and a television career that would have her model “tiny shorts next to a blow-up of Fergie in gym wear”. Picking up where Bridget Jones’ Diary left off, everyone’s favourite singleton has finally landed her love, Mark Darcy. However, she’s finding–among other things–that her dreamboat is less than ideal. Aside from never doing the washing up or foraging through the isles at Tesco, Mark, it seems, has taken an interest in the viperous “jellyfish” Rebecca, who has “thighs like a baby giraffe” and a penchant for boyfriend snatching. If that isn’t enough, Richard “I’m thinking bunny girl! I’m thinking Gladiator! I’m thinking canvassing MP!” Finch, Bridget’s smarmy, cocaine-encrusted boss and Executive Producer of Sit Up, wants her to be the show’s clown, in effect making her the arse of television. What’s more, a builder who has an obsession for large, slimy fish seems to have forgotten about the hole he knocked out in her flat, putting her entire life on display for the neighbours. Not to mention a mother who wants her to go to see Ms. Saigon with a Kikuya tribesman hijacked from Kenya.

Never fear, Bridge’s singleton posse–Shazzer, Jude and Tom–are always a phone call away and armed with bottles of Chardonnay, packs of Silk Cut, pizza and a cornucopia of self-help literature. Whether they’re decoding acronyms in singles ads (GSOH and WLTM? “Giant sore on head. Willy, limp, thin mollusc.”), developing the ground-breaking “Pashima theory” or dolling out unsolicited advice, the FOBs (friends of Bridget) make up most of the comedy. Although The Edge of Reason is filled with signature B.J. manoeuvres, such as drunken Christmas card writing and wearing an unruly rubber girdle, it’s a departure from the original. Throughout most of its 422 pages the plot clips at a steady rate, then, much like Bridget’s train of thought, the ending skitters, careens and breaks off into two incoherent tracks–one more absurd than the other. The outcome is a metamorphosed Bridget, one more reminiscent of a British Alley McBeal than the personification of England’s everywoman. –Rebekah Warren

Helen Fielding (born Yorkshire, 19 February 1958) is an English novelist and screenwriter, best known as the creator of the fictional character Bridget Jones, and a sequence of novels and films beginning with the life of a thirty-something singleton in London trying to make sense of life and love. Bridget Jones’s Diary (1996) and Bridget Jones: The Edge of Reason (1999) were published in 40 countries and sold more than 15 million copies. The two films of the same name achieved international success. In a survey conducted by The Guardian newspaper, Bridget Jones’s Diary was named as one of the ten novels that best defined the 20th century.

Bridget Jones: Mad About the Boy was published in autumn 2013 with record-breaking first-day sales in the UK exceeding 46,000 copies. It occupied the number one spot on The Sunday Times bestseller list for six months. In her review for The New York Times review, Sarah Lyall called the novel “sharp and humorous” and said that Fielding had “allowed her heroine to grow up into someone funnier and more interesting than she was before”. Late 2016 saw the release of the third movie: Bridget Jones’s Baby. On 11 October 2016, and the publication of Fielding’s sixth novel, Bridget Jones’ Baby: the Diaries based on Fielding’s original columns in The Independent newspaper on which the movie — which broke UK box office records — was based. In a 2004 poll for the BBC, Fielding was named the 29th most influential person in British culture. In December 2016, the BBC’s Woman’s Hour included Bridget Jones as one of the seven women who had most influenced British female culture over the last seven decades.