Glasgow-born author Andrew O’Hagan, known for his acclaimed literary career and outspoken perspectives, offered insights into his life and work in a recent interview. At 58, O’Hagan has built a robust body of work, including the nonfiction book *The Missing* (1995) and several novels, among them *Our Fathers*, which was shortlisted for the Booker Prize in 1999. His novels *Be Near Me* and *The Illuminations* were longlisted for the Booker in 2006 and 2015, respectively. More recently, his books *Caledonian Road* and *Maylies* have garnered attention, with the latter adapted for BBC television in 2022 and now being staged as a play at the Edinburgh Fringe Festival from August 7 to 30. O’Hagan currently serves as editor at large for the London Review of Books and resides in London with his wife and daughter.

Reflecting on his personal experiences, O’Hagan recounted one of his most embarrassing moments during his first holy communion in 1975 when his trousers slipped down, drawing unwanted attention from both girls and priests. He described himself in three words as “Just. Hanging. On.”, underscoring a candid and self-effacing persona.

O’Hagan shared his distaste for political movements such as Reform UK, and noted a tendency to quickly dismiss television dramas, often judging them harshly after only a brief viewing. He also expressed a lighthearted frustration with his own appearance, specifically his “tiny” hands, which he said were too small to lift a cupcake.

In a revealing glimpse into his personality, O’Hagan named natural historian David Attenborough as his “celebrity crush,” imagining a simple moment of holding hands akin to that of baby orangutans. His childhood aspirations included becoming Albrecht, a principal role in the classical ballet *Giselle*. Despite professional success, he disclosed a measure of disappointment with the internet’s unfulfilled promise to improve global equality and connectivity.

O’Hagan recounted a notable brush with the law when the CIA accused him of holding WikiLeaks secrets, highlighting a moment of interaction with intelligence agencies. When asked how he would like to be remembered, he expressed a desire to be known “as a good friend.” He also offered a cryptic remark about young members of the British royal family anticipating that Andrew Mountbatten-Windsor might face incarceration, a comment attributed to unnamed sources.

Through this candid conversation, O’Hagan painted a portrait of a reflective, sometimes irreverent artist, shaped by both private vulnerabilities and public scrutiny.