Bridget jones mad about the boy review

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bridget jones mad about the boy review

Mad About the Boy (Bridget Jones, #3) by Helen Fielding

Bridget Jones is back!

Great comic writers are as rare as hens teeth. And Helen is one of a very select band who have created a character of whom the very thought makes you smile. Bridget Jones Diary, charting the life of a 30-something singleton in London in the 1990s was a huge international bestseller, published in 40 countries and selling over 15 million copies worldwide. Its sequel, Bridget Jones: The Edge of Reason, published soon after was also a major international bestseller. Both were made into films starring Renee Zellweger, Hugh Grant and Colin Firth.

Set in the present, the new novel will explore a different phase in Bridgets life with an entirely new scenario. As Helen Fielding has said: If people laugh as much reading it as I am while writing it then well all be very happy.
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Helen Fielding Interview - Bridget Jones: Mad about The Boy

Bridget Jones: Mad About the Boy by Helen Fielding – review

I t's always a jolt to remember that the first two Bridget Jones books, published way back in the 90s, predated texting, tweeting, Facebook and internet dating: the constant stream of personal updates pinging between our devices in Her diary-style abbreviations, number-crunching obsessiveness over trivia and jokey combination of self-exposure and self-deprecation have had such an influence on the tone of social media that we all sound like Bridget now. So it's no surprise that Helen Fielding was tempted to let Bridget loose on what looks like her natural terrain. Think what opportunities modern technology offers for embarrassment: the erroneously forwarded email, the ill-advised drunken text, the disastrous internet date. What's surprising, and cheering, is that rather than freeze-framing her as the eternal thirtysomething, Fielding has allowed Bridget to age in real time, making her 51 and in need of glasses to operate her smartphone. More shockingly, instead of the dissatisfied divorcee one might have expected, Bridget is now a tragic widow.

By Sarah Crompton. Calories 2, Minutes spent reading Minutes spent laughing Packets of chocolate biscuits consumed 3. Bridget Jones was the poster girl for a generation. Terrifying slide into obesity — why, why?

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Characters pop in solely as set-ups and the double entendres come thick and fast. Familiarity is a wonderful thing. Characters become friends. Maybe we even feel superior in our judgement of them. Just like real-life friends, then. Still, is it possible to know too much about a fictional character? Anyway here, for now, Mark is hale and hearty and we discover that he and Bridget called off their engagement five years earlier due to yet another Daniel Cleaver-related mishap.

The book is at its best when it is a poignant comic novel about a year-old woman struggling to bring up children after the sudden death of her husband. But on occasion it becomes a parody of a Richard Curtis film, or even worse an American sitcom, and that of course is v v bad. Doorbell … Was Tom and Jude, both completely plastered, stumbling into the hallway giggling. Stop it. Her newspaper columns, and first novel, defined a generation, changed the vocabulary of singleton life, gently satirised the have-it-all fallacy, and spawned an entire genre of poor imitations that still bore readers today. So you have to write a different book. The best bits of this one are the ones furthest from anything the original Bridget could imagine.

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