Paul Bailey, who died in October aged 87, was acclaimed for a humorous talent, deep empathy extending to his deeply imperfect creations, and a cleverness that was never clinical. His literary works repeatedly investigated the power of memory within personal journeys, driven by sharp, rhythmic dialogue. Apart from fiction, he also excelled as an autobiographer, verse writer, and other capacities—here is a guide to his enduring literary legacy.
Paul Bailey proved a gregarious individual, an excellent talker with a love for “trivial chit-chat”, in the words of a creation. Together with companion fellow writer Beryl Bainbridge often enjoyed the serial drama Coronation Street and debrief by phone. This pleasure in chatty conversations appears within his books Trespasses (published in 1970) as well as the title Peter Smart’s Confessions (1977). Each includes a main male protagonist besieged by comic, maddening, theatrical individuals, frequently family members whose influence is inescapable. “Who wants to be normal anyway?” Ralph’s mum questions within Trespasses when he reveals he is gay. Like an evening with your smartest, cheekiest pal.
The novelist penned brilliantly about aging, throughout his literary path. His first book the novel At the Jerusalem (1967) follows the life of Faith Gadny as she adjusts to a care facility, in which other inhabitants supply compassion lacking from staff, who show interest by asking “Aren’t you watching television?”. Within his second-last book Chapman’s Odyssey (2011), a senior in hospital switches between disputing with medics (“I consume only fine wines”, he states when scolded for liver results) and experiencing a rush of recollections of his mother, lovers, literary figures such as Pip from Dickens or Emma from Austen. Each volume are filled with humorous dialogues yet shadowed by the inevitable conclusion. Throughout his novels, laughter is suspect. Within At the Jerusalem, “the matron smiled, shut the smile off quickly”; Faith Gadny chuckles anxiously if her actions are questioned. In that novel, Harry advises that “my grins are misleading”. Your laughter, nonetheless, is sincere.
Apart from his stories, Paul Bailey served as a talented life writer, releasing two self-written volumes. An Immaculate Mistake (published in 1990) serves as a classic of memory, its name coming from his parent’s remark labeling him an “accident” and questioning his presence. (“Elderly, she disclosed hidden truths,” he notes. “This secret, she realized, would intrigue me.”) This book reveals the sources for confused, affectionate, irritating parental figures throughout his books. It also paints an evocative portrait of a gay youth during the mid-20th century, 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 would-be thespian (Bailey acted before writing) who memorized Hamlet at 15. His follow-up autobiography A Dog’s Life (from 2004) concentrates on existence alongside his mixed-breed dog Circe, his ex-partner David, his fondness for Romania—that influenced subsequent books such as the novel Kitty and Virgil, the title Uncle Rudolf, and The Prince’s Boy—and heaps of rumors, featuring an anecdote involving author Iris Murdoch dubbing a participant a “foolish person”.
Bailey’s novels tend to be short—the powerful Old Soldiers (published in 1980) is barely 100 pages—yet for an even briefer option, sample his verse from his later career. The two books the poetry collection Inheritance (from 2019) and Joie de Vivre (2022) display his humor, compassion, accuracy in brief format. These poems contain mortality and existence. Two love themes recur: about his parent (“I feel nearer to you now—/ I must confess—/ than when you lived”) and for his spouse Jeremy Trevathan. In that piece, he writes of the happiness from enjoying “foolish television” side by side, concluding with: “It’s remarkable, this simple act of consuming cheese and wine as darkness falls.”
There is little debate that Paul Bailey’s boldest work remains the novel Gabriel’s Lament, shortlisted for the Booker prize in 1986. (He also judged the prize in 1982, a role he disliked.) This was the book Paul Bailey valued most, although “it consumed all his energy”. It relates the narrative of Gabriel Harvey, whose mum disappears while his dad transforms into an unbearable snob following a financial windfall, and the two might be related. It’s a depiction of London in the 1900s, an account of psychological collapse, and as funny and sad as anything Bailey wrote. Additionally, it prompted a subsequent book, Sugar Cane (1993), which the author studied by attending brothels to observe.
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