Paul Bailey, whose life ended last autumn at 87, was renowned for a comic brilliance, deep empathy extending to his deeply imperfect creations, and an intelligence that was never clinical. His fiction often explored the role of remembrance within personal journeys, fueled by witty, staccato exchanges. In addition to storytelling, he also excelled as a memoirist, poet, and more—here is a guide to the volumes he authored.
Paul Bailey proved a gregarious individual, a skilled communicator fond of “trivial chit-chat”, according to a fictional persona. Alongside pal fellow writer Beryl Bainbridge often enjoyed the serial drama Coronation Street and discuss it over calls. This enjoyment of informal dialogues shines through in his fictional works Trespasses (1970) along with the title Peter Smart’s Confessions (released in 1977). The two present a leading man encircled by humorous, irritating, exaggerated personalities, usually kin whose impact cannot be avoided. “What’s so great about being normal?” queries Ralph’s mother in the book Trespasses after he discloses his homosexuality. Comparable to hanging out with your most clever, daring companion.
Paul Bailey authored superbly on old age, throughout his literary path. His debut novel the novel At the Jerusalem (1967) details the life of Faith Gadny as she adjusts to an old people’s residence, where fellow residents provide kindness lacking from staff, who show interest via queries “Why aren’t you ladies watching the television?”. Within his second-last book Chapman’s Odyssey (2011), an elderly hospitalized man switches between disputing with medics (“My wine selection is exclusive”, he insists after reprimands over liver tests) and confronting past remembrances involving his mum, partners, classic characters like Dickens’s Pip to Austen’s Emma. Each volume are filled with comic interactions however tinged with approaching finality. In his stories, smiles are deceptive. In that book, “the matron smiled, shut the smile off quickly”; Faith Gadny chuckles anxiously upon challenge to her conduct. In Chapman’s Odyssey, Harry warns that “my smiles aren’t what they seem”. Your laughter, nonetheless, is sincere.
Besides novels, Paul Bailey served as a talented life writer, publishing two autobiographies. An Immaculate Mistake (published in 1990) serves as a classic of reminiscence, its name coming from his mother’s words labeling him an “accident” and questioning his presence. (“Aged, she was releasing her confidences,” he comments. “This one, she knew, would be of particular interest to me.”) This book reveals the roots of misguided, loving, frustrating parents in his novels. It likewise portrays a beautiful image of a homosexual young man in the 1940s–50s, during a time of anti-gay laws, and his family found it odd if a male child gifted blooms to his parent; and of a hopeful performer (The writer was on stage preceding his literary career) who could recite Hamlet as a teen. His follow-up autobiography A Dog’s Life (published in 2004) focuses on days with his pet Circe, his ex-partner David, his love for Romania—that influenced subsequent books such as Kitty and Virgil, the title Uncle Rudolf, as well as The Prince’s Boy—and heaps of rumors, including a tale involving author Iris Murdoch calling an audience member a “foolish person”.
The author’s fiction are mostly concise—the impactful Old Soldiers (published in 1980) is barely 100 pages—yet for an even briefer option, explore his poems from his later career. The two collections Inheritance (from 2019) and also Joie de Vivre (2022) showcase his humor, compassion, accuracy in condensed form. These poems contain endings and beginnings. Two love themes recur: for his mother (“I feel nearer to you now—/ I must confess—/ than when you lived”) and for his partner Jeremy Trevathan. In that piece, he depicts the happiness from enjoying “foolish television” side by side, finishing with: “It’s amazing, somehow, to eat cheese and sip wine while the world darkens.”
There is little debate that Paul Bailey’s boldest work was Gabriel’s Lament, nominated for the Booker in 1986. (He was a Booker judge in 1982, a role he disliked.) This novel the author was most proud of, despite the fact “it exhausted him completely”. It tells Gabriel Harvey’s story, whose mum disappears and a father who becomes an unbearable snob following a financial windfall, with possible connections. It serves as a portrait of the city in that era, an account of psychological collapse, and both comic and tragic as anything Bailey wrote. For more, it inspired a sequel, Sugar Cane (published in 1993), which Bailey researched by attending brothels to observe.
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