The novelist Paul Bailey, who died in October aged 87, was renowned for a comic brilliance, profound compassion including for his deeply imperfect creations, and a cleverness that never felt cold. His fiction often explored the role of remembrance within personal journeys, driven by clever, syncopated conversations. Apart from fiction, he also excelled as an autobiographer, verse writer, and other capacities—this serves as a roadmap to the books he left behind.
Bailey was a social being, a master conversationalist with a love for lighthearted gossip, according to a fictional persona. Together with companion author Beryl Bainbridge often enjoyed the TV show Coronation Street and discuss it over calls. This enjoyment of chatty conversations shines through in his fictional works the novel Trespasses (1970) and Peter Smart’s Confessions (released in 1977). Each includes a leading man besieged by comic, maddening, theatrical individuals, usually kin whose impact cannot be avoided. “What’s so great about being normal?” asks the mother of Ralph in Trespasses when he reveals he is gay. Like an evening with your wittiest, boldest friend.
Paul Bailey authored excellently regarding elderly life, early and late in his career. His initial fiction At the Jerusalem (1967) details Faith Gadny’s experiences while she adapts to a care facility, where other occupants offer warmth lacking from staff, who show interest via queries “Why aren’t you ladies watching the television?”. In the novel before his final Chapman’s Odyssey (from 2011), a senior in hospital switches between disputing with medics (“My wine selection is exclusive”, he affirms following criticism of his liver) and being flooded by memories involving his mum, partners, classic characters such as Pip from Dickens or Emma from Austen. The two works are filled with humorous dialogues but marked by impending endings. Throughout his novels, smiles are deceptive. In At the Jerusalem, “the matron smiled, shut the smile off quickly”; Faith Gadny chuckles anxiously when confronted about her behavior. In Chapman’s Odyssey, Harry advises that “my grins are misleading”. Readers’ smiles, however, are authentic.
Apart from his stories, The author excelled as a skilled autobiographer, publishing two autobiographies. the memoir An Immaculate Mistake (published in 1990) stands as a masterpiece of reminiscence, the heading taken from his mother’s words that “You were our mistake. You ought not to be here, by rights.”. (“Aged, she was releasing her confidences,” he notes. “This one, she knew, would be of particular interest to me.”) This book reveals the roots of misguided, loving, frustrating parents throughout his books. It also paints a moving picture of a gay youth in the 1940s–50s, 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 would-be thespian (The writer was on stage before writing) who learned Hamlet by age fifteen. His subsequent life story A Dog’s Life (from 2004) concentrates on days with his pet Circe, his previous lover David, his fondness for Romania—that influenced later novels like Kitty and Virgil, Uncle Rudolf, and The Prince’s Boy—and plenty of gossip, including a tale about Iris Murdoch calling an audience member a “stupid cow”.
Bailey’s novels tend to be short—the impactful Old Soldiers (published in 1980) is under 100 pages—but for something shorter, sample his verse from later years. The two books Inheritance (from 2019) and Joie de Vivre (released in 2022) display his humor, compassion, accuracy in condensed form. These verses are full of mortality and existence. 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 writes of the happiness from viewing “a silly TV show” as a couple, concluding with: “It’s remarkable, this simple act of consuming cheese and wine as darkness falls.”
Most agree that Paul Bailey’s boldest work remains Gabriel’s Lament, shortlisted for the Booker prize in 1986. (He served as a judge for the award in 1982, an experience he despised.) This novel the author was most proud of, although “it consumed all his energy”. It relates the narrative of Gabriel Harvey, whose mum disappears while his dad transforms into a intolerable pretentious person after inheriting wealth, with possible connections. It acts as a representation of London in the 1900s, an account of psychological collapse, and both comic and tragic like his other works. For more, it inspired a subsequent book, Sugar Cane (1993), that he investigated by going to such places to watch.
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