The novelist Paul Bailey, whose life ended last autumn at 87, was renowned for his humorous talent, profound compassion including for his deeply imperfect creations, and a cleverness that never felt cold. His novels frequently delved into the role of remembrance in shaping lives, propelled by clever, syncopated conversations. Apart from fiction, he was also an autobiographer, verse writer, and other capacities—this serves as a roadmap to the books he left behind.
Paul Bailey proved a social being, an excellent talker who adored “trivial chit-chat”, according to a fictional persona. Alongside pal author Beryl Bainbridge used to view the TV show Coronation Street and debrief by phone. This enjoyment of informal dialogues shines through in his fictional works the novel Trespasses (published in 1970) along with the title Peter Smart’s Confessions (1977). Each includes a central male figure encircled by humorous, irritating, exaggerated personalities, usually kin whose gravitational pull is unavoidable. “Who wants to be normal anyway?” asks the mother of Ralph within Trespasses after he discloses his homosexuality. Comparable to hanging out with your smartest, cheekiest pal.
Paul Bailey authored superbly on old age, throughout his literary path. His initial fiction At the Jerusalem (published in 1967) traces Faith Gadny’s experiences while she adapts to a nursing home, where fellow residents provide kindness absent in employees, who show interest by asking “Aren’t you watching television?”. Within his second-last book Chapman’s Odyssey (from 2011), an elderly hospitalized man switches between arguing with doctors (“I consume only fine wines”, he states when scolded for liver results) and experiencing a rush of recollections from his parent, romances, fictional icons such as Pip from Dickens or Emma from Austen. The two works include comic interactions yet shadowed by impending endings. In Bailey’s fiction, laughter is suspect. In At the Jerusalem, “the matron grinned, then ended it abruptly”; Mrs Gadny laughs nervously when confronted about her behavior. Within Chapman’s Odyssey, Harry advises that “my smiles aren’t what they seem”. The audience’s grins, though, are real.
In addition to fiction, The author excelled as a talented life writer, publishing two autobiographies. An Immaculate Mistake (from 1990) is a masterwork of reminiscence, its name coming from his mother’s words calling him “our error” and saying he shouldn’t exist. (“Aged, she was releasing her confidences,” he comments. “She understood this would captivate me.”) Here we see the sources of misguided, loving, frustrating parents in his novels. It also paints a moving picture of a boy discovering his sexuality in that era, when same-sex acts were criminal, and his family found it odd if a male child gifted blooms to his parent; and of an aspiring actor (Bailey acted before writing) who memorized Hamlet at 15. His follow-up autobiography the book A Dog’s Life (from 2004) focuses on days with his pet Circe, his previous lover David, his affection for Romania—that influenced later novels like Kitty and Virgil, Uncle Rudolf, plus The Prince’s Boy—and heaps of rumors, including a tale regarding Iris Murdoch dubbing a participant an “idiot”.
Paul Bailey’s books are mostly concise—the notable Old Soldiers (from 1980) is under 100 pages—yet for an even briefer option, try his poetry from later years. The two books the poetry collection Inheritance (2019) and Joie de Vivre (2022) display his humor, compassion, accuracy in condensed form. These poems are full of mortality and existence. Two love themes recur: about his parent (“I’m closer to you now – / I need to tell you – / than I ever was in life”) and for his civil partner Jeremy Trevathan. Within the poem Amazement, he describes the happiness from enjoying “foolish television” side by side, ending with: “It’s remarkable, this simple act of consuming cheese and wine as darkness falls.”
It is widely accepted that Paul Bailey’s boldest work is the novel Gabriel’s Lament, shortlisted for the Booker prize in 1986. (He also judged the prize in 1982, an experience he despised.) This was the book the author was most proud of, despite the fact “it exhausted him completely”. It follows the tale of Gabriel Harvey, with a missing mother and a father who becomes an insufferable elitist upon receiving money, with possible connections. It serves as a portrait of London in the 1900s, a story of mental breakdown, and both comic and tragic as anything Bailey wrote. To continue, it led to a follow-up, Sugar Cane (1993), which Bailey researched by visiting brothels as an observer.