Esteemed author Paul Bailey, who passed away last year at 87, was celebrated for his witty genius, deep empathy even for his most flawed characters, and an intelligence that was never clinical. His fiction often explored the role of remembrance in shaping lives, propelled by witty, staccato exchanges. In addition to storytelling, he also excelled as a poet, memoir writer, and additional roles—this is an overview to his enduring literary legacy.
Paul Bailey proved an outgoing person, a skilled communicator who adored “trivial chit-chat”, as one character notes. Together with companion author Beryl Bainbridge often enjoyed the serial drama Coronation Street and discuss it over calls. This enjoyment of informal dialogues appears within his fictional works the novel Trespasses (from 1970) along with the title Peter Smart’s Confessions (dating to 1977). Both feature a central male figure encircled by comic, maddening, theatrical individuals, usually kin whose influence is inescapable. “What’s so great about being normal?” asks the mother of Ralph within Trespasses when he reveals he is gay. Comparable to hanging out with your smartest, cheekiest pal.
Paul Bailey authored excellently regarding elderly life, early and late in his career. His first book At the Jerusalem (from 1967) details the life of Faith Gadny while she adapts to an old people’s residence, where fellow residents supply compassion absent in employees, whose concern through questions “Aren’t you watching television?”. In the novel before his final the title Chapman’s Odyssey (from 2011), an aged patient moves between clashing with physicians (“My wine selection is exclusive”, he states when scolded for liver results) and experiencing a rush of recollections of his mother, lovers, literary figures including Pip by Dickens and Emma by Austen. Both books are filled with funny exchanges however tinged with the inevitable conclusion. In Bailey’s fiction, smiles are deceptive. In At the Jerusalem, “the matron grinned, then ended it abruptly”; The character giggles with unease if her actions are questioned. In that novel, Harry advises that “my grins are misleading”. The audience’s grins, though, are real.
In addition to fiction, The author excelled as a talented life writer, releasing two self-written volumes. An Immaculate Mistake (from 1990) stands as a masterpiece of recollection, the heading taken from his mum’s statement that “You were our mistake. You ought not to be here, by rights.”. (“She was old now, and letting go of her secrets,” he notes. “This one, she knew, would be of particular interest to me.”) This book reveals the sources of misguided, loving, frustrating parents within his fiction. It also paints a moving picture of a gay youth in the 1940s–50s, when same-sex acts were criminal, and his family found it odd for a boy to buy his mother flowers; and of a hopeful performer (Paul Bailey performed preceding his literary career) who memorized Hamlet at 15. His second memoir the book A Dog’s Life (2004) focuses on days with his pet Circe, his former partner David, his fondness for Romania—which motivated subsequent books such as Kitty and Virgil, Uncle Rudolf, as well as The Prince’s Boy—and plenty of gossip, with a story about Iris Murdoch dubbing a participant a “foolish person”.
Paul Bailey’s books are generally brief—the impactful Old Soldiers (from 1980) is barely 100 pages—however, for a more condensed choice, try his poetry from his later career. The pair of volumes Inheritance (from 2019) and the title Joie de Vivre (2022) exhibit his cleverness, sympathy, exactness in condensed form. These poems contain death and life. Two affectionate topics reappear: about his parent (“I’m closer to you now – / I need to tell you – / than I ever was in life”) and for his spouse Jeremy Trevathan. In that piece, 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.”
There is little debate that Bailey’s most ambitious novel remains Gabriel’s Lament, nominated for the Booker in 1986. (He was a Booker judge in 1982, an experience he despised.) This was the book Paul Bailey valued most, even though “it drained me. It took everything out of me”. It follows Gabriel Harvey’s story, with a missing mother and a father who becomes an insufferable elitist upon receiving money, and the events may link. It serves as a portrait of London in the 1900s, a story of mental breakdown, and as funny and sad like his other works. To continue, it led to a subsequent book, Sugar Cane (1993), which the author studied by going to such places to watch.
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