Just remembered I wrote this review back in 2007:
I was interested to see how a writer of such iconic books [Bridget Jones] would do outside her established area of success. Fielding obviously set out to make this book quite different: besides the occasionally omniscient third-person narration, Olivia is extremely unlike Bridget: focused on her career rather than finding love, and socially confident as well as secure in her looks. She's competent, skilled, and globally-minded. Instead of a romantic comedy, this is an occasionally comedic espionage thriller, starring Olivia the journalist as she uses her female intuition and social skills to investigate an al-Qaeda terrorism plot in a post-9/11 world of glitterati and hippie divers.
(as bizarre as that summary is, it gets bizarre-er. spoilers but you don't want to read this book anyway, don't worry.)
PROBLEMS:
1. The narration is terrible. Fielding really doesn't seem to grasp the inner mechanics of third-person narration — there's no build to it, no deeper insights, and the pacing is awful. In a diary, short and sometimes incoherent descriptions were germane to the format. Here they just make no sense. Sample painful description, from when our heroine is being held hostage underwater by an enemy and occasionally given air from a scuba tank to breathe: "It was crazy, but good." What?? She uses these dead words and outright telling all over the place, but her prose isn't minimalistic enough to justify it as a style choice. And then, and then, and then, and the tone doesn't change whether she's at a party or seconds from death. Relatedly, her description of action/suspense sequences are stilted and confusing. She doesn't give enough visual cues to explain wtf is going on, or make sense of her settings, and meanwhile Olivia's emotions are inaccessible and when we do know them, often seem inappropriate given the situation. Usually we're just told these thoughts, but occasionally we read her actual thoughts, which is always headdesk-worthy because when this happens, it's inconsistent: first she thought in the present tense, and suddenly she's thinking in the past. WHY?!
2. This book is pretty racist. Well, it's hard to quantify how racist the main plot is: Olivia meets a "dark" man who she immediately pegs for an Arab and a terrorist. Fielding hangs a lantern on it by having Olivia questions herself as being possibly racist, and her suspect claims that he was posing as not-an-Arab to escape that kind of stereotyping, but ... he really is a terrorist. Obviously this is ooky, particularly the "dark" descriptor that pops up several times, but given that it is a post-9/11 spy thriller, it seems somewhat of the Bond tradition where of course the enemy is going to be a dirty commie, or what have you. It makes for unsettling reading, however, and never gets better. Meanwhile, that's not the only kind of racism going on here: in a two-page sequence set in the Mexico City airport, Fielding packs in so many ridiculous stereotypes about Mexicans and Central Americans that in retrospect I'm not even sure why I kept reading. Mexican men wear cowboy boots! Mexicans are laid-back to the point where their airplanes regularly get lost because LOL QUE PASA? Mexicans don't care if there are problems, because Mexicans solve all problems with tequila! Similar hijinks ensue in Egypt and the Sudan, but I happened to pick up on this in particular because I have many ties to Mexican culture and have actually spent a lot of time in the real Mexico City airport, which is how I know for certain that this writing isn't just offensive, it's also...
3. BADLY RESEARCHED & IMPLAUSIBLE AS FUCK. There are so many incidental factual errors I caught in this book that I can only imagine how intensely wrong the last third of the book, which is a wildly unbelievable crash course with the MI6 and al-Qaeda, must be. Besides making MEX sound like a podunk bus stop (hint: it's the airport for the second largest city in the world, fuck no it doesn't have cowhide chairs), she even mentions Homeland Security's terror alert levels and yet allows Olivia to fly out of Miami the same day as a terrorist attack there, and continue to globe-trot via planes, and two different passports, despite a series of terrorist attacks that would, in the real world, ground air traffic for who knows how long. Apparently neither MI6 nor the CIA have any investment in remaining covert, as MI6 goes around informing all of Olivia's friends and employers that she's with them, and a CIA agent (who wields a lot of power within the agency, is a computer genius, and an undercover master of disguise) identifies himself as CIA onstage at the fucking Oscars in order to make an announcement anyone could have made. Adrien Brody's name is now Adrian, twice. And insult of insults: "In southern California alone we have major shipping ports in the Bay Area, Ventura, Los Angeles, and San Diego."
OH NO YOU DI-IN'T.
By the way, Olivia Joules has crazy hunches a lot, and they are (almost) ALWAYS RIGHT. Her overactive imagination is actually a keen intuition that, paired with social skills, is the reason why there should be moar female spies!! Oh the gloriously girly unorthodoxy!
4. Gender and sex fail. The premise, mentioned just above, is problematic, although I can see what I think Fielding intended: Olivia's instincts were written off as imagination because she was dismissed as a silly girl, when really it is her feminine intuition that gives her strength. So, okay, she's like Buffy the Vampire Slayer of spies. And she is rewarded, of course, with a hot spy boyfriend (the aforementioned important CIA wunderkind). I approved briefly, because who loves hot spysex and bossy men with guns? Oooh, me, me! Excellent, until he turns out to be such a condescending douchebag, who addresses her exclusively as "baby" once the hot spy bickering is out of the way, that I was ready to believe he was a double-crossing al-Qaeda agent, just because I hated him and couldn't believe that this jerk was supposed to be the happy ending.