Andrew O’Hagan Reflects on Life, Literature, and Celebrity Crushes

London, United Kingdom Jul 25, 2026 ALN: Born in Glasgow, Andrew O’Hagan, 58, has established himself as a significant figure in contemporary literature. His educational journey began at the University of Strathclyde, where he honed his skills and developed a passion for storytelling. O’Hagan's literary career took off in 1995 with the publication of The Missing, a nonfiction work that set the stage for his future endeavors in both fiction and nonfiction. His debut novel, Our Fathers, published in 1999, garnered critical acclaim and was shortlisted for the prestigious Booker Prize, marking a pivotal moment in his career.

Following the success of Our Fathers, O’Hagan continued to explore complex themes in his subsequent works. His novels Be Near Me and The Illuminations were longlisted for the Booker Prize in 2006 and 2015, respectively, further solidifying his reputation as a skilled novelist. O’Hagan's recent works, including Caledonian Road and Mayflies, showcase his ability to weave intricate narratives that resonate with readers. Notably, Mayflies was adapted for BBC television in 2022, expanding his audience beyond the literary world. The adaptation's success has led to its transformation into a play, which is set to be performed at the Edinburgh Fringe Festival from 7 to 30 August, highlighting the ongoing relevance of O’Hagan's storytelling in contemporary culture.

In addition to his work as a novelist, O’Hagan serves as editor at large for the London Review of Books, a role that allows him to engage with a wide array of literary voices and contribute to the discourse surrounding literature and culture. He resides in London with his wife and daughter, balancing his family life with his literary ambitions.

Throughout his career, O’Hagan has been candid about his personal experiences, fears, and aspirations. When asked about his greatest fear, he admits, "I can’t say it," suggesting a complexity in his thoughts that may reflect deeper anxieties. This reluctance to articulate his fears may resonate with many individuals who grapple with their own vulnerabilities.

O’Hagan's self-reflective nature extends to his views on personal traits. He expresses a sense of disappointment in his own fascination with Los Angeles, a city often associated with superficiality and celebrity culture. This introspection is further highlighted when he discusses the traits he deplores in others, particularly the tendency to diminish others due to their own insecurities. Such observations indicate a sensitivity to human behavior that informs his writing.

Humor also plays a significant role in O’Hagan's self-perception. He recounts an embarrassing moment from his childhood—his first holy communion—where ill-fitting trousers led to a mortifying experience. This anecdote not only illustrates the awkwardness of youth but also serves as a reminder of the universal nature of embarrassment and the formative experiences that shape individuals.

When asked to describe himself in three words, O’Hagan succinctly states, "Just. Hanging. On." This phrase encapsulates a sense of resilience and perseverance, suggesting that despite the challenges he faces, he continues to navigate life with determination. His response to what makes him unhappy—"Reform UK"—reflects his engagement with political issues and societal challenges, showcasing the intersection of his literary pursuits with broader cultural concerns.

O’Hagan’s candidness extends to his unappealing habits, such as his tendency to dismiss a television drama after just ten minutes, a behavior many viewers might relate to in an era of overwhelming content choices. His self-deprecating humor is evident when he mentions his dislike of his own appearance, particularly his "tiny hands" that require both to lift a cupcake, a light-hearted admission that humanizes him further.

In a whimsical turn, O’Hagan humorously suggests that Janette Krankie would play him in a film about his life, a nod to both his Scottish heritage and the absurdity of celebrity culture. His celebrity crush on David Attenborough, whom he imagines holding hands with like a baby orangutan, reflects a deep admiration for the natural world and the influential figures who advocate for it. Attenborough’s work has inspired countless individuals to appreciate and protect the environment, and O’Hagan’s affection for him underscores a shared value in the importance of storytelling in fostering empathy and awareness.

Reflecting on his childhood aspirations, O’Hagan reveals that he often dreamed of being Albrecht in the classical ballet Giselle, a role that embodies grace and passion. This revelation speaks to his artistic inclinations and the profound impact of the arts on his life. Such aspirations are often formative, shaping individuals into the artists and thinkers they become.

When discussing the worst thing anyone has said to him, O’Hagan recalls being compared to David Cameron, a comment that likely stung given the political climate surrounding the former UK Prime Minister. This moment highlights the sometimes harsh realities of public perception and the impact of comparisons in the public eye.

O’Hagan’s guilty pleasure, "Selling Sunset" on Netflix, offers insight into his enjoyment of reality television, a genre often critiqued for its portrayal of superficiality. This admission illustrates the complexity of human interests, where even a literary figure can find joy in the escapism provided by such programs.

His reflections on familial relationships reveal a nuanced understanding of gratitude and personal struggles. O’Hagan acknowledges a "debt of gratitude for a lifelong addiction to self-pity," suggesting that while he appreciates his upbringing, it has also contributed to his introspective nature. This duality is common among artists, who often grapple with their pasts while channeling their experiences into their work.

When asked about love, O’Hagan describes it as "like getting out of the right side of the bed every morning, even when you don’t." This metaphor captures the essence of love as a comforting presence, one that persists even in challenging times. His insights into love and relationships reflect the emotional depth that characterizes much of his writing.

O’Hagan’s biggest disappointment, the internet, reveals a critical perspective on technology and its impact on society. While the internet holds immense potential for connection and knowledge-sharing, he expresses frustration with the reality of its usage, which often leads to division and misinformation. This sentiment resonates with many individuals who share concerns about the digital landscape and its implications for society.

In a moment of introspection, O’Hagan recounts a recent change of mind regarding mid-period Sting, suggesting a willingness to re-evaluate past judgments and embrace complexity in art. This openness to change is a valuable trait for any artist, allowing for growth and evolution in both personal and professional realms.

When contemplating what single thing would improve his quality of life, O’Hagan's desire for "world capitalism to grind to a halt" speaks to his concerns about economic systems and their impact on individuals' lives. This perspective aligns with broader discussions about capitalism and its implications for society, particularly in the context of inequality and environmental degradation.

O’Hagan's closest brush with the law, involving an accusation from the CIA regarding WikiLeaks secrets, adds an intriguing layer to his narrative. This experience highlights the intersection of literature, politics, and the complexities of modern communication, as well as the potential consequences of engaging with controversial subjects.

As O’Hagan reflects on how he would like to be remembered, he expresses a desire to be seen as a good friend, emphasizing the importance of personal connections and relationships over public accolades. This sentiment underscores the human aspect of his work, as he prioritizes meaningful interactions over fame.

Finally, O’Hagan shares a secret regarding the expectations of young members of the royal family concerning Andrew Mountbatten-Windsor's potential incarceration. This revelation hints at the complexities of royal family dynamics and public perceptions, offering a glimpse into the often-hidden aspects of celebrity and power.

In conclusion, Andrew O’Hagan's reflections provide a multifaceted view of a writer grappling with personal and societal challenges. His candidness about fears, aspirations, and the complexities of life enriches the understanding of his literary contributions and the human experiences that inform them. As he continues to navigate the literary landscape, O’Hagan's insights resonate with readers and remind us of the shared struggles and joys of the human experience.