Esteemed author Paul Bailey, whose life ended last autumn at 87, was acclaimed for possessing a witty genius, intense sympathy including for his deeply imperfect creations, and a cleverness that was never clinical. His fiction frequently delved into the role of remembrance in shaping lives, propelled by clever, syncopated conversations. In addition to storytelling, he worked as a memoirist, poet, and more—here is a guide to the books he left behind.
Bailey was an outgoing person, a master conversationalist fond of casual small talk, according to a fictional persona. Alongside pal fellow writer Beryl Bainbridge often enjoyed the TV show Coronation Street and debrief by phone. This fondness for gossipy exchanges appears within his novels the book Trespasses (1970) and Peter Smart’s Confessions (dating to 1977). The two present a central male figure surrounded by funny, annoying, over-the-top characters, usually kin whose gravitational pull is unavoidable. “Why would anyone desire normality?” asks the mother of Ralph within Trespasses upon his coming out. Like an evening with your smartest, cheekiest pal.
The novelist penned brilliantly about aging, throughout his literary path. His initial fiction the novel At the Jerusalem (published in 1967) follows the journey of Faith Gadny while she adapts to a care facility, where fellow residents offer warmth lacking from staff, who show interest by asking “Why aren’t you ladies watching the television?”. Within his second-last book Chapman’s Odyssey (released in 2011), an elderly hospitalized man switches between disputing with medics (“I only drink superior wines”, he states following criticism of his liver) and confronting past remembrances from his parent, romances, fictional icons such as Pip from Dickens or Emma from Austen. The two works contain funny exchanges however tinged with approaching finality. In Bailey’s fiction, smiles are deceptive. In At the Jerusalem, “the matron beamed, then stopped suddenly”; Faith Gadny chuckles anxiously when confronted about her behavior. Within Chapman’s Odyssey, Harry advises that “my laughter is not genuine”. Your laughter, nonetheless, is sincere.
Besides novels, Paul Bailey served as a skilled autobiographer, issuing two personal accounts. the memoir An Immaculate Mistake (published in 1990) stands as a masterpiece of memory, its name coming from his mother’s words calling him “our error” and saying he shouldn’t exist. (“She was old now, and letting go of her secrets,” he adds. “This secret, she realized, would intrigue me.”) Here we see the sources of misguided, loving, frustrating parents in his novels. It also paints a beautiful image of a gay youth in that era, when same-sex acts were criminal, and his family found it odd for a boy to buy his mother flowers; and of a hopeful performer (Bailey acted prior to authoring) who could recite Hamlet as a teen. His follow-up autobiography A Dog’s Life (from 2004) concentrates on life with his mongrel puppy Circe, his former partner David, his love for Romania—which motivated subsequent books such as the novel Kitty and Virgil, Uncle Rudolf, plus The Prince’s Boy—and loads of chatter, including a tale about Iris Murdoch labeling a listener a “foolish person”.
The author’s fiction tend to be short—the impactful Old Soldiers (published in 1980) is just over 100 pages—yet for an even briefer option, try his poetry in his final phase. The pair of volumes the poetry collection Inheritance (from 2019) along with Joie de Vivre (from 2022) display Bailey’s wit, empathy, precision in small packages. These poems are full of endings and beginnings. Two love themes recur: regarding his mum (“I’m closer to you now – / I need to tell you – / than I ever was in life”) and for his spouse Jeremy Trevathan. In Amazement, he writes of the happiness from “watching an idiotic TV entertainment” together, concluding with: “It’s awesome, in its way, this act of eating cheese / and drinking wine, as the world keeps darkening.”
It is widely accepted that Bailey’s most ambitious novel is Gabriel’s Lament, nominated for the Booker in 1986. (He also judged the prize in 1982, a task he hated.) This novel the author was most proud of, even though “it drained me. It took everything out of me”. It relates the tale of Gabriel Harvey, whose mum disappears and a father who becomes an insufferable elitist upon receiving money, and the events may link. It serves as a portrait of 20th-century London, a story of mental breakdown, and as funny and sad as anything Bailey wrote. To continue, it led to a follow-up, Sugar Cane (from 1993), which Bailey researched by visiting brothels as an observer.
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