Paul Bailey, who died in October aged 87, was acclaimed for a witty genius, deep empathy even for his deeply imperfect creations, and a cleverness that was never clinical. His novels often explored the influence of recollections in shaping lives, propelled by witty, staccato exchanges. Beyond novels, he also excelled as a memoirist, poet, and more—here is a guide to his enduring literary legacy.
Paul Bailey proved an outgoing person, a master conversationalist with a love for casual small talk, in the words of a creation. Alongside pal fellow writer Beryl Bainbridge used to view the serial drama Coronation Street and discuss it over calls. This pleasure in informal dialogues is evident in his books the book Trespasses (from 1970) along with Peter Smart’s Confessions (1977). Each includes a central male figure encircled by funny, annoying, over-the-top characters, often close relatives whose impact cannot be avoided. “What’s so great about being normal?” Ralph’s mum questions within Trespasses after he discloses his homosexuality. Like an evening with your smartest, cheekiest pal.
Bailey wrote superbly on old age, early and late in his career. His initial fiction At the Jerusalem (1967) follows the journey of Faith Gadny as she adjusts to a care facility, where other occupants supply compassion missing from caregivers, whose engagement through questions “Aren’t you watching television?”. In the novel before his final Chapman’s Odyssey (released in 2011), an elderly hospitalized man switches between arguing with doctors (“My wine selection is exclusive”, he insists following criticism of his liver) and experiencing a rush of recollections from his parent, romances, fictional icons such as Pip from Dickens or Emma from Austen. Each volume are filled with humorous dialogues but marked by approaching finality. In Bailey’s fiction, grins are unreliable. In that book, “the matron beamed, then stopped suddenly”; Mrs Gadny laughs nervously if her actions are questioned. Within Chapman’s Odyssey, Harry cautions that “my smiles aren’t what they seem”. The audience’s grins, though, are real.
In addition to fiction, The author excelled as a skilled autobiographer, issuing two personal accounts. An Immaculate Mistake (1990) serves as a classic of recollection, the heading taken from his mother’s words calling him “our error” and saying he shouldn’t exist. (“She was old now, and letting go of her secrets,” he adds. “This secret, she realized, would intrigue me.”) Within these pages appear the sources for confused, affectionate, irritating parental figures throughout his books. It also paints a beautiful image of a gay youth in the 1940s–50s, during a time of anti-gay laws, and his kin viewed it as suspicious that a son would purchase flowers for his mum; and of a hopeful performer (The writer was on stage before writing) who learned Hamlet by age fifteen. His subsequent life story A Dog’s Life (from 2004) focuses on days with his pet Circe, his previous lover David, his fondness for Romania—which motivated later novels like Kitty and Virgil, Uncle Rudolf, as well as The Prince’s Boy—and heaps of rumors, with a story about Iris Murdoch calling an audience member a “stupid cow”.
Paul Bailey’s books are generally brief—the impactful Old Soldiers (published in 1980) is under 100 pages—yet for an even briefer option, try his poetry from his later career. The two books Inheritance (published in 2019) and the title Joie de Vivre (released in 2022) display his humor, compassion, accuracy in small packages. These writings are full of endings and beginnings. Two love themes recur: for his mother (“I’m closer to you now – / I need to tell you – / than I ever was in life”) and for his partner Jeremy Trevathan. In Amazement, he describes the happiness from “watching an idiotic TV entertainment” together, ending with: “It’s amazing, somehow, to eat cheese and sip wine while the world darkens.”
Most agree that Paul Bailey’s boldest work remains Gabriel’s Lament, shortlisted for the Booker prize in 1986. (He was a Booker judge in 1982, an experience he despised.) This novel Bailey felt proudest of, even though “it exhausted him completely”. It relates Gabriel Harvey’s story, whose mother vanishes and a father who becomes a intolerable pretentious person after inheriting wealth, and the two might be related. It acts as a representation of 20th-century London, a tale of emotional unraveling, and both comic and tragic like his other works. To continue, it led to a subsequent book, Sugar Cane (1993), which Bailey researched by going to such places to watch.
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