The novelist Paul Bailey, who died in October aged 87, was renowned for possessing a witty genius, deep empathy even for his deeply imperfect creations, and an intelligence that was never clinical. His literary works frequently delved into the role of remembrance in shaping lives, driven by clever, syncopated conversations. In addition to storytelling, he also excelled as a memoirist, poet, and more—this serves as a roadmap to the volumes he authored.
The author appeared as a gregarious individual, an excellent talker fond of “trivial chit-chat”, according to a fictional persona. Alongside pal author Beryl Bainbridge would watch Coronation Street and discuss it over calls. This pleasure in chatty conversations appears within his fictional works Trespasses (from 1970) along with the title Peter Smart’s Confessions (1977). The two present a leading man besieged by comic, maddening, theatrical individuals, often close relatives whose influence is inescapable. “Why would anyone desire normality?” asks the mother of Ralph within Trespasses when he reveals he is gay. Like an evening with your smartest, cheekiest pal.
Bailey wrote brilliantly about aging, at both ends of his writing journey. His initial fiction At the Jerusalem (from 1967) details the life of Faith Gadny as she adjusts to a care facility, in which other inhabitants supply compassion missing from caregivers, whose concern by asking “Aren’t you watching television?”. In his penultimate novel Chapman’s Odyssey (from 2011), an elderly hospitalized man alternates between arguing with doctors (“My wine selection is exclusive”, he states after reprimands over liver tests) and confronting past remembrances involving his mum, partners, classic characters such as Pip from Dickens or Emma from Austen. Each volume include comic interactions but marked by impending endings. Throughout his novels, laughter is suspect. In that book, “the matron beamed, then stopped suddenly”; Faith Gadny chuckles anxiously when confronted about her behavior. In Chapman’s Odyssey, Harry warns that “my laughter is not genuine”. Readers’ smiles, however, are authentic.
In addition to fiction, Bailey was a skilled autobiographer, publishing two autobiographies. An Immaculate Mistake (from 1990) is a masterwork of memory, its name coming from his mother’s words labeling him an “accident” and questioning his presence. (“Elderly, she disclosed hidden truths,” he adds. “This one, she knew, would be of particular interest to me.”) Here we see the origins of misguided, loving, frustrating parents in his novels. Additionally, it depicts an evocative portrait of a homosexual young man during the mid-20th century, when same-sex acts were criminal, and his relatives considered it strange that a son would purchase flowers for his mum; and of a would-be thespian (Paul Bailey performed before writing) who memorized Hamlet at 15. His subsequent life story the book A Dog’s Life (from 2004) centers on days with his pet Circe, his ex-partner David, his fondness for Romania—that influenced later novels like Kitty and Virgil, Uncle Rudolf, plus the book The Prince’s Boy—and heaps of rumors, including a tale about Iris Murdoch dubbing a participant an “idiot”.
Paul Bailey’s books are mostly concise—the powerful Old Soldiers (from 1980) is barely 100 pages—yet for an even briefer option, explore his poems in his final phase. The two collections the poetry collection Inheritance (published in 2019) along with Joie de Vivre (2022) exhibit Bailey’s wit, empathy, precision in small packages. These verses contain endings and beginnings. Two romantic motifs repeat: about his parent (“I feel nearer to you now—/ I must confess—/ than when you lived”) and for his spouse Jeremy Trevathan. In Amazement, he writes of the joy of “watching an idiotic TV entertainment” together, finishing with: “It’s amazing, somehow, to eat cheese and sip wine while the world darkens.”
Most agree that the author’s most expansive book is 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 Paul Bailey valued most, despite the fact “it consumed all his energy”. 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 equally humorous and sorrowful similar to his entire output. For more, it inspired a follow-up, Sugar Cane (1993), which Bailey researched by attending brothels to observe.