Esteemed author Paul Bailey, whose life ended last autumn at 87, was acclaimed for possessing a humorous talent, intense sympathy including for the worst personalities in his stories, and an intelligence that was never clinical. His novels repeatedly investigated the power of memory within personal journeys, driven by witty, staccato exchanges. Apart from fiction, he was also a memoirist, poet, and more—this is an overview to the books he left behind.
Paul Bailey proved a social being, a skilled communicator with a love for “trivial chit-chat”, according to a fictional persona. Alongside pal author Beryl Bainbridge would watch the serial drama Coronation Street and debrief by phone. This fondness for informal dialogues appears within his books the novel Trespasses (from 1970) and the title Peter Smart’s Confessions (dating to 1977). Both feature a central male figure encircled by humorous, irritating, exaggerated personalities, frequently family members whose impact cannot be avoided. “Why would anyone desire normality?” Ralph’s mum questions in the book Trespasses upon his coming out. Similar to spending time with your wittiest, boldest friend.
Bailey wrote excellently regarding elderly life, throughout his literary path. His debut novel the novel At the Jerusalem (1967) follows the life of Faith Gadny while she adapts to an old people’s residence, where other occupants offer warmth lacking from staff, who show interest via queries “Why not view the TV, ladies?”. In his penultimate novel Chapman’s Odyssey (released in 2011), a senior in hospital moves between clashing with physicians (“I consume only fine wines”, he affirms following criticism of his liver) and confronting past remembrances of his mother, lovers, literary figures including Pip by Dickens and Emma by Austen. Both books are filled with humorous dialogues however tinged with impending endings. In Bailey’s fiction, grins are unreliable. In At the Jerusalem, “the matron smiled, shut the smile off quickly”; The character giggles with unease if her actions are questioned. Within Chapman’s Odyssey, Harry advises that “my laughter is not genuine”. The audience’s grins, though, are real.
Besides novels, Paul Bailey served as a gifted memoirist, releasing two self-written volumes. the memoir An Immaculate Mistake (from 1990) stands as a masterpiece of memory, the heading taken from his parent’s remark labeling him an “accident” and questioning his presence. (“Elderly, she disclosed hidden truths,” he notes. “This secret, she realized, would intrigue me.”) This book reveals the origins for confused, affectionate, irritating parental figures throughout his books. It likewise portrays a moving picture of a boy discovering his sexuality in that era, when homosexuality was illegal, and his family found it odd if a male child gifted blooms to his parent; and of a hopeful performer (Paul Bailey performed before writing) who memorized Hamlet at 15. His follow-up autobiography A Dog’s Life (published in 2004) focuses on life with his mongrel puppy Circe, his ex-partner David, his fondness for Romania—which motivated future works including Kitty and Virgil, the title Uncle Rudolf, plus The Prince’s Boy—and loads of chatter, featuring an anecdote regarding Iris Murdoch labeling a listener a “foolish person”.
Bailey’s novels are mostly concise—the powerful Old Soldiers (from 1980) is under 100 pages—however, for a more condensed choice, sample his verse from his later career. The two books Inheritance (from 2019) along with Joie de Vivre (2022) exhibit his humor, compassion, accuracy in small packages. These verses contain endings and beginnings. Two affectionate topics reappear: regarding his mum (“Now I’m closer—/ I have to say—/ than in life”) and for his partner Jeremy Trevathan. Within the poem Amazement, he describes the joy of viewing “a silly TV show” as a couple, finishing with: “It’s amazing, somehow, to eat cheese and sip wine while the world darkens.”
There is little debate that Paul Bailey’s boldest work was the novel Gabriel’s Lament, a Booker Prize finalist in 1986. (He also judged the prize in 1982, an experience he despised.) This novel Paul Bailey valued most, despite the fact “it exhausted him completely”. It relates the tale of Gabriel Harvey, whose mother vanishes and whose father turns into a intolerable pretentious person after inheriting wealth, with possible connections. It’s a depiction of 20th-century London, a tale of emotional unraveling, and both comic and tragic like his other works. To continue, it led to a sequel, Sugar Cane (1993), which Bailey researched by visiting brothels as an observer.
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