Esteemed author Paul Bailey, who died in October aged 87, was acclaimed for a humorous talent, intense sympathy extending to his deeply imperfect creations, and an intelligence that avoided being sterile. His literary works frequently delved into the role of remembrance in shaping lives, propelled by sharp, rhythmic dialogue. Beyond novels, he worked as an autobiographer, verse writer, and other capacities—this is an overview to the books he left behind.
Bailey was a social being, a master conversationalist fond of lighthearted gossip, as one character notes. Together with companion author Beryl Bainbridge would watch Coronation Street and discuss it over calls. This fondness for chatty conversations shines through in his fictional works the book Trespasses (1970) along with Peter Smart’s Confessions (1977). The two present a leading man besieged by comic, maddening, theatrical individuals, often close relatives whose gravitational pull is unavoidable. “Who wants to be normal anyway?” asks the mother of Ralph in Trespasses after he discloses his homosexuality. Comparable to hanging out with your wittiest, boldest friend.
Paul Bailey authored superbly on old age, at both ends of his writing journey. His debut novel the novel At the Jerusalem (1967) traces the journey of Faith Gadny while she adapts to a nursing home, in which other inhabitants provide kindness lacking from staff, whose engagement via queries “Why not view the TV, ladies?”. In his penultimate novel Chapman’s Odyssey (released in 2011), an elderly hospitalized man moves between clashing with physicians (“My wine selection is exclusive”, he states after reprimands over liver tests) and being flooded by memories of his mother, lovers, literary figures including Pip by Dickens and Emma by Austen. The two works are filled with humorous dialogues however tinged with approaching finality. In Bailey’s fiction, grins are unreliable. In At the Jerusalem, “the matron smiled, shut the smile off quickly”; Mrs Gadny laughs nervously when confronted about her behavior. Within Chapman’s Odyssey, Harry warns that “my laughter is not genuine”. Your laughter, nonetheless, is sincere.
Besides novels, Bailey was a gifted memoirist, releasing two self-written volumes. An Immaculate Mistake (from 1990) stands as a masterpiece of reminiscence, its title derived from his mum’s statement labeling him an “accident” and questioning his presence. (“Aged, she was releasing her confidences,” he notes. “This one, she knew, would be of particular interest to me.”) Here we see the origins of misguided, loving, frustrating parents in his novels. It also paints an evocative portrait of a homosexual young man during the mid-20th century, when homosexuality was illegal, and his family found it odd for a boy to buy his mother flowers; and of an aspiring actor (Bailey acted before writing) who could recite Hamlet as a teen. His subsequent life story A Dog’s Life (from 2004) centers on days with his pet Circe, his former partner David, his fondness for Romania—that influenced future works including the novel Kitty and Virgil, the title Uncle Rudolf, plus The Prince’s Boy—and heaps of rumors, with a story regarding Iris Murdoch dubbing a participant a “stupid cow”.
Paul Bailey’s books tend to be short—the notable Old Soldiers (1980) is just over 100 pages—yet for an even briefer option, sample his verse from later years. The two books Inheritance (published in 2019) along with Joie de Vivre (from 2022) showcase his humor, compassion, accuracy in brief format. These poems contain endings and beginnings. Two love themes recur: for his mother (“Now I’m closer—/ I have to say—/ than in life”) and for his spouse Jeremy Trevathan. In Amazement, he depicts the pleasure in viewing “a silly TV show” as a couple, finishing with: “It’s remarkable, this simple act of consuming cheese and wine as darkness falls.”
Most agree that Paul Bailey’s boldest work was the novel Gabriel’s Lament, shortlisted for the Booker prize in 1986. (He also judged the prize in 1982, a task he hated.) This work the author was most proud of, even though “it drained me. It took everything out of me”. It tells the tale of Gabriel Harvey, with a missing mother while his dad transforms into an insufferable elitist following a financial windfall, and the two might be related. It’s a depiction of London in the 1900s, a tale of emotional unraveling, and equally humorous and sorrowful like his other works. To continue, it led to a sequel, Sugar Cane (published in 1993), that he investigated by going to such places to watch.
Elias Vance is a Canadian journalist and political analyst with over a decade of experience covering national affairs and policy developments.