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The Atlantic Ocean: Reports from Britain and America First Edition, Kindle Edition

3.7 3.7 out of 5 stars 14 ratings
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Reflections on topics from war and crime to pop culture, in “a stunning collection . . . from the best essayist of his generation” (The New York Times).
 
For more than two decades, Andrew O’Hagan has been publishing celebrated essays on both sides of the Atlantic.
The Atlantic Ocean highlights the best of his clear-eyed, brilliant work, including his first published essay, a reminiscence of his working-class Scottish upbringing; an extraordinary piece about the lives of two soldiers, one English, one American, both of whom died in Iraq on May 2, 2005; and a piercing examination of the life of William Styron.
 
O’Hagan’s subjects range from the rise of the tabloids to the aftermath of Hurricane Katrina, from the trajectory of the Beatles to the impossibility of not fancying Marilyn Monroe—in essays that are “stupendously unflinching, bursting with possibility” (
Booklist, starred review).
 
“A brilliant essayist, [O’Hagan] constructs sentences that pierce like pinpricks.” —
Publishers Weekly, starred review
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Editorial Reviews

Review

"A brilliant essayist,[O'Hagan] constructs sentences that pierce like pinpricks."
--Publishers Weekly (starred)

"Stupendously unflinching, bursting with possibility"---Booklist (starred)

From the Back Cover

"A brilliant essayist, [O'Hagan] constructs sentences that pierce like pinpricks.” — Publishers Weekly, starred review

For more than two decades, Andrew O’Hagan has been publishing celebrated essays on both sides of the Atlantic.
The Atlantic Ocean highlights the best of his clear-eyed, brilliant work, including his first published essay, a reminiscence of his working-class Scottish upbringing; an extraordinary piece about the lives of two soldiers, one English, one American, both of whom died in Iraq on May 2, 2005; and a piercing examination of the life of William Styron. O’Hagan’s subjects range from the rise of the tabloids to the aftermath of Hurricane Katrina, from the trajectory of the Beatles to the impossibility of not fancying Marilyn Monroe.

The Atlantic Ocean — an engrossing and important collection.

Andrew O’Hagan’s novels have been awarded the Los Angeles Times Book Prize, the James Tait Black Memorial Prize, and the E. M. Forster Award. He lives in London.

Product details

  • ASIN ‏ : ‎ B008LQ1OWS
  • Publisher ‏ : ‎ Mariner Books; First edition (January 22, 2013)
  • Publication date ‏ : ‎ January 22, 2013
  • Language ‏ : ‎ English
  • File size ‏ : ‎ 3397 KB
  • Text-to-Speech ‏ : ‎ Enabled
  • Screen Reader ‏ : ‎ Supported
  • Enhanced typesetting ‏ : ‎ Enabled
  • X-Ray ‏ : ‎ Not Enabled
  • Word Wise ‏ : ‎ Enabled
  • Sticky notes ‏ : ‎ On Kindle Scribe
  • Print length ‏ : ‎ 368 pages
  • Customer Reviews:
    3.7 3.7 out of 5 stars 14 ratings

About the author

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Andrew O'Hagan
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Instagram: @andrewohaganauthor

BIOGRAPHY

Andrew O'Hagan was born in Glasgow. His novel Mayflies won the Christopher Isherwood Prize. He has been nominated for the Booker Prize, was voted one of Granta’s Best of Young British Novelists in 2003, and won the E.M. Forster Prize from the American Academy of Arts and Letters. He is Editor-at-Large of the London Review of Books and a Fellow of the Royal Society of Literature.

Andrew also writes regularly for The New Yorker, Esquire, and the New York Review of Books. In 2024, he was made an Honorary Professor of Literature at the University of Glasgow.

The BBC adaptation of Mayflies, produced by Synchronic Films, won a BAFTA for best scripted drama in 2023.

Caledonian Road is to become a returning TV drama, produced by Sinestra Films, directed by Johan Renck (who directed Chernobyl for HBO), and the show runner is Will Smith who wrote Slow Horses.

UPDATE

My last novel, Mayflies, published n 2021, is the story of Tully Dawson, a music-loving hero, the narrator's best friend. They made a small legend of their glory years. In the summer of 1986 their shared love of bands and politics projects them, with a group of their chums, to a festival in Manchester and the very pinnacle of their youth. Thirty years later, the telephone rings. Tully is facing the crisis of his life and that old friendship is put to the test.

I was overwhelmed by the way Mayflies was taken up by readers. I still get hundreds of messages from readers throughout the world -- men and women who identify with the deep friendship of Tully, Jimmy and the boys. Many of my readers lost someone in their lives and the book, in a way, seemed to become a rallying place for readers who'd experienced such personal loss. The book, and it's adaptation by the BBC, really struck a chord and the story is very close to my heart.

For my new book Caledonian Road, I worked on a much bigger canvas, giving a portrait of modern Britain, but it is no less intimate -- in some ways, it is more so. As with Mayflies, it's a story about a man finding out what he's made of -- but in this case, he is also about to find out what the society he lives in is made of.

Campbell Flynn is a fifty-something Scottish art historian living off the Caledonian Road. He is successful, well-connected, living in a big house in a beautiful square, with a wife he loves and interesting children. But something is going badly wrong. The quintessential 'good liberal', Campbell is teetering on the edge of something awful -- he is losing himself. Is he decent? Has he been ignoring what his friends have been doing? Is he obsessed with money? Is he is falling into error? Is he on 'the right side of history"? Over the course of a single year, from May 2021, secrets and corruptions begin to be revealed to Campbell, and his own mistakes begin to take over his life.

'He always knew that when his life came tumbling down, it would occur in public.'

Power. Money. Politics.

Set at the high water mark of Boris Johnson's Britain, Caledonian Road is a story of our times, the story of one man's epic fall from grace.

One American journalist has called it 'like having a backstage pass to London'. That's what I wanted to write: in the great tradition of the Victorian novel, a page-turning with ethical eruptions.

'A BARNSTORMING NOVEL'

The Observer

'WHERE ARE ALL THE GREAT STATE-OF-THE-NATION NOVELS? STEP FORWARD ANDREW O'HAGAN'

The Sunday Times

'PULLS DOWN THE FACADES OF HIGH SOCIETY...AN UTTER JOY TO READ.'

Monica Ali

'WITH THIS MAGNUM OPUS, O'HAGAN HAS MADE A SOCIAL MIRACLE.'

Pulitzer prizewinner Josh Cohen

'I LOVED THIS NOVEL -- LOVED ITS AMBITION AND SCALE AND SCOPE AND CERTAINTY -- IT'S PANACHE AND BRIO AND JOY IN THE WRITING.'

Peter Morgan, creator of The Crown

A JOURNEY INTO MY BOOKS

I grew up loving stories where real worlds and imagined ones fuse together. There's a grain of fiction in every day facts, and a quality of fact in the fiction I care about. To tell the truth, I've always felt that Britain is as pretty under-described territory, so from the beginning it seemed natural to me that reporting and memory, as much as plot and invention, might open up new stories to readers.

My first book was The Missing. I was in my 20s then, and was still thinking about a child who had disappeared from a housing estate near ours in Ayrshire. I went in search of him, and it became a search into the lost nature of my own family story, as well as a tendency, in certain British lives, for people's narratives to fade. I covered the trial of the killer Rosemary West and looked for the stories of the victims, many of whom had never been reported as missing. When the book came out it seemed to chime with an atmosphere in Britain, a worry about what our politics was doing to our sense of decency and the common good, and I followed it with essays about the the state of the nation. I've never really stopped writing those pieces, most of them appearing in the London Review of Books.

My first novel really grew out of those enquiries. I wanted to animate the idealism behind the slum-clearance obsession in Glasgow in the 1960s, and it centred on one family, the Bawns, and their post-war experience. When the novel was shortlisted for the Booker Prize, a lot of people wrote to me about what was happening in their own communities. Some of those people were from Eastern Europe, too, talking about how fiction might play a part in understanding 'improvement' and raising awareness of how we live now.

I was gripped by the rise of celebrity culture and wrote a novel, Personality, a book in many voices, inspired by the life of a young singer from a Scottish island who suffers in the midst of fame. That interest took a comic turn in The Life and Opinions of Maf the Dog, narrated by Marilyn Monroe's dog, a real little entity called Mafia Honey. (Given to Marilyn in 1960 by Frank Sinatra. For real.) I spent a lot of time in American researching that book, making TV programmes and getting to know the absurd.

In Be Near Me, I focused on the problem of a troubled and troubling priest living in a small Scottish community, suddenly wrapped up in a blaze of publicity that sends him back into his own conscience and memory. And in The Illuminations, I told the story of a young soldier returning from Afghanistan, and his closeness to his grandmother, a documentary photographer with a host of secrets in her past.

Writing, for me, has always been a process of entering into a dialogue with my readers, finding common ground and fresh debate. It's great meeting audiences at festivals and hearing how the stories I've tried to unearth sit with their experience. Our common knowledge of the world is constantly changing -- being deepened, altered, challenged, made new -- and I've used reportage and the essay to engage in my own way with those changes. The digital world is a place of thrilling power-displacement and threat and I have sat inside that world and described it close-up in my writing. The Secret Life, a book of non-fiction, gives accounts from the front line with Julian Assange, with the purported inventor of Bitcoin, and from a digital world where identity is unstable. In The Atlantic Ocean, essays and reports from all of those fronts, and others -- hurricanes, court cases, journeys into war -- were brought together to show readers that truthful writing might still be our best mode of witnessing.

Mayflies distilled a single summer and a lifelong friendship into a bestselling book.

With Caledonian Road, I feel I've used the past to reach into the present, to find a new kind of story. A reported novel, it dramatises the internet era in modern London.

Customer reviews

3.7 out of 5 stars
3.7 out of 5
14 global ratings

Top reviews from the United States

Reviewed in the United States on April 12, 2013
Vine Customer Review of Free Product( What's this? )
O'Hagan is a skilled stylist, but to borrow from Gertrude Stein's comment about Oakland, California, in many of these essays there is no there there; they are more style than substance, with a lack of focus or persuasive argument. As with so many contemporary essayists, most of his pieces--at least those that aren't book reviews--seem to be about how we've got it all wrong, often expressed with the requisite sneer. Other than that, there is no theme here, either; nothing to hold the collection together. Maybe this goes down better when you read one essay at a time. Reading several in a row is likely to just leave you weary and bilious.

A version of this book was published in 2000, and you might want to know about the differences between that edition and this one. First of all, there is an excellent introduction in the 2000 edition, but none in this one. The following essays appear in the 2000 edition, but not in this one:

Scotland's Old Injury
Tony and the Queen
Cowboy George
Celebrity Memoirs
On Hating Football
Poetry As Self-Help
My Grandfather's Ship
Faces of Michael Jackson
American Way of Sorrow
The Garbage of England

The following is a listing of the essays in this volume, together with an indication of what the essay is about (if it's not obvious from the title) and an indication if it does not appear in the 2000 edition:

The Killing of James Bulger (the infamous murder of a two-year old boy by two 10-year old boys in Liverpool, who lured him from a shopping center)

On Begging (London homeless)

The Glasgow Sludge Boat (boats that carry treated sewage below, for dumping into the open, and Bingo-playing senior citizens above)

The American Dream of Lee Harvey Oswald (Norman Mailer's book Oswald's Tale, the Memory of a Nation museum in Dallas's Texas Book Depository building and, just a few blocks away, the Conspiracy Museum, )

Many Andies (Andy Warhol) (not in the 2000 edition)

Good Fibs (Truman Capote) (published April 2, 1998 in the London Review of Books and available in its entirety online without subscription; not in the 2000 edition)

England's Flowers (white lilies, grown in the millions in Israel, how they end up in England and how the English psyche is revealed through flowers)

Saint Marilyn (Christie's sale of Marilyn Monroe clothing and memorabilia; how she and her belongings are interpreted to provide the meaning of 20th century America)

7/7 (The July 7, 2005 bombings in London, in which four suicide bombers set of bombs on a double-decker bus and in the Underground, killing 52, not including the bombers, and injuring over 700) (not in the 2000 edition)

Introduction to Go Tell It On the Mountain (James Baldwin and the writing of his first novel) (not in the 2000 edition)

On the End of British Farming (the hoof-and-mouth disease disaster, the history and dire economics of British farming, how we divorce grocery store products from how food gets there

England and the Beatles (placing the Beatles in the context of their time and place)

On Lad Magazines (on the glorification of male drunken idiocy in British society and media)

Four Funerals and a Wedding (thoughts about the funerals of O'Hagan's schoolteacher, Pope John Paul II, author Saul Bellow and Monaco's Prince Rainier; and some quite nasty observations about the wedding of Prince Charles and Camilla Parker-Bowles and the television coverage of the event)

After Hurricane Katrina

Brothers (Englishman Anthony Wakefield, killed by an IED, and American John Spahr, killed in a military jet collision, both in southern Iraq in 2005

Racing Against Reality (review of Don DeLillo's 
Falling Man , about a survivor of the 9/11 attacks on the World Trade Center) (not in the 2000 edition)

Guilt: A Memoir (O'Hagan's Catholic childhood) (not in the 2000 edition)

The Boy Who Mistook His Life for a Crime (the post-prison life of Jon Venables, who was 10 years old when he murdered two-year-old James Bulger in Liverpool) (not in the 2000 edition)

E. M. Forster: The Story of Affection (Forster's life and a review of Wendy Moffat's biography, 
A Great Unrecorded History: A New Life of E. M. Forster ) (not in the 2000 edition)

Styron's Choice (William Styron and his daughter Alexandra Styron's memoir, 
Reading My Father: A Memoir ) (not in the 2000 edition)
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Reviewed in the United States on May 15, 2013
Vine Customer Review of Free Product( What's this? )
If you are a fan of the New York Review of Books and its writing, you'll know exactly what to expect from this collection of essays published by one of its British contributors over the last two decades or so. At their best, they are witting and focused, but taken as a whole, they are uneven and sometimes downright irritating in their rambling and discursive tone.

Occasionally, O'Hagan is able to jar the reader out of a comfortable sense of complacency, as he does with the first essay in this collection, a rumination on how close childhood cruelty may come to tipping over the edge and leading to murder, as it did in the killing of young James Bulger by two older children in England. The author draws on his own experience growing up in one of the grittier parts of Glasgow, itself one of the tougher cities in Britain, and his insights are simultaneously horrifying and persuasive. Indeed, it is when O'Hagan himself can bring not just a personal point of view but first-person experience to bear on a topic that the essay works as not only an interesting read but a coherent, focused and articulate argument. (Cases in point include his early article on begging, in which he goes 'undercover' on the streets of London in light of the increased hostility to the so-called professional beggars, or his trip alongside two ad hoc volunteers from North Carolina as they travel to New Orleans and Mississippi in an ill-defined quest to 'help out' in the wake of Hurricane Katrina). In other cases, O'Hagan has opinions or ideas, but while the essays themselves are beautifully written and occasionally produce phrases that transcend the concept of the 'mot juste' (eg, his pithy comment that "a great many novels, flat with accomplishment, are too much about what they're about", which perfectly captures my own reaction to several much-lauded recent books) there is nothing fresh or particularly engaging about what he is saying.

We get O'Hagan's views on Marilyn Monroe, Andy Warhol, the Beatles and Don DeLillo -- but by the time he rambled his way through a circuitous argument only to arrive at a rather banal conclusion, I found those views weren't particularly engaging or novel. There's also a lot of repetitiveness among the circular prose -- in combination, this is toxic. Three or four separate essays mention or discuss O'Hagan's aversion to cellophane-wrapped bouquets of flowers as public tributes. That's fine -- but say it once, in a memorable way. A 42-page essay on British farming examines the same themes and ideas repeatedly: none of them are new news to anyone (or were at the time it was written), making it all the more important for O'Hagan to find a way to make the reader sit up and really think about them.

The writing throughout this volume is elegant and thoughtful, even beautiful at times. But to be excellent, an essay must also be crisp and focused, however long it is. (This is something that Timothy Garton Ash can pull off more often, even writing for the same publications.) Alternatively, if the essayist is intent on taking me on a long, roundabout tour of a topic, I expect the observations along the way to be intriguing or startling -- or at least fresh and compelling. That doesn't happen here.

The result? A collection of well-written and potentially interesting articles that don't always live up to their initial promise, but that I am still happy to have discovered.
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