Paul Bailey, whose life ended last autumn at 87, was renowned for a comic brilliance, deep empathy including for his most flawed characters, and an intelligence that was never clinical. His literary works frequently delved into the influence of recollections in shaping lives, fueled by witty, staccato exchanges. Beyond novels, he worked as a poet, memoir writer, and additional roles—this serves as a roadmap to the volumes he authored.
Bailey was an outgoing person, a skilled communicator who adored lighthearted gossip, according to a fictional persona. He and friend Beryl Bainbridge often enjoyed Coronation Street and debrief by phone. This pleasure in informal dialogues is evident in his books Trespasses (1970) as well as the title Peter Smart’s Confessions (dating to 1977). The two present a central male figure besieged by comic, maddening, theatrical individuals, usually kin whose influence is inescapable. “Who wants to be normal anyway?” Ralph’s mum questions in Trespasses upon his coming out. Similar to spending time with your most clever, daring companion.
The novelist penned brilliantly about aging, at both ends of his writing journey. His debut novel At the Jerusalem (from 1967) traces the journey of Faith Gadny during her transition to a care facility, where fellow residents offer warmth absent in employees, whose engagement via queries “Why aren’t you ladies watching the television?”. In his penultimate novel the title Chapman’s Odyssey (2011), an aged patient moves between arguing with doctors (“I consume only fine wines”, he insists after reprimands over liver tests) and confronting past remembrances involving his mum, partners, classic characters such as Pip from Dickens or Emma from Austen. The two works include funny exchanges however tinged with impending endings. In his stories, grins are unreliable. In At the Jerusalem, “the matron beamed, then stopped suddenly”; The character giggles with unease if her actions are questioned. In that novel, Harry warns that “my laughter is not genuine”. Readers’ smiles, however, are authentic.
Besides novels, Bailey was a talented life writer, issuing two personal accounts. An Immaculate Mistake (1990) stands as a masterpiece of memory, its title derived from his mum’s statement that “You were our mistake. You ought not to be here, by rights.”. (“Aged, she was releasing her confidences,” he adds. “This secret, she realized, would intrigue me.”) Within these pages appear the roots of flawed, caring, annoying mothers and fathers throughout his books. It also paints a moving picture of a boy discovering his sexuality during the mid-20th century, during a time of anti-gay laws, and his relatives considered it strange if a male child gifted blooms to his parent; and of a hopeful performer (Paul Bailey performed prior to authoring) who learned Hamlet by age fifteen. His subsequent life story A Dog’s Life (2004) concentrates on life with his mongrel puppy Circe, his previous lover David, his love for Romania—that influenced subsequent books such as Kitty and Virgil, Uncle Rudolf, as well as The Prince’s Boy—and loads of chatter, with a story involving author Iris Murdoch labeling a listener an “idiot”.
Paul Bailey’s books are generally brief—the impactful Old Soldiers (published in 1980) is under 100 pages—however, for a more condensed choice, explore his poems in his final phase. The two collections Inheritance (2019) and also the title Joie de Vivre (2022) showcase his humor, compassion, accuracy in condensed form. These poems contain death and life. Two romantic motifs repeat: for his mother (“Now I’m closer—/ I have to say—/ than in life”) and for his civil partner Jeremy Trevathan. In Amazement, he describes the pleasure in enjoying “foolish television” side by side, finishing with: “It’s remarkable, this simple act of consuming cheese and wine as darkness falls.”
Most agree that the author’s most expansive book remains the novel Gabriel’s Lament, shortlisted for the Booker prize in 1986. (He was a Booker judge in 1982, a role he disliked.) This was the book Bailey felt proudest of, although “it consumed all his energy”. It follows Gabriel Harvey’s story, whose mum disappears and a father who becomes a intolerable pretentious person upon receiving money, with possible connections. It serves as a portrait of 20th-century London, a tale of emotional unraveling, and as funny and sad similar to his entire output. Additionally, it prompted a follow-up, Sugar Cane (1993), that he investigated by attending brothels to observe.
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