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44 pages 1 hour read

Augusten Burroughs

Dry

Nonfiction | Autobiography / Memoir | Adult | Published in 2003

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Symbols & Motifs

The Pig’s Head

Prior to the fateful call from the jeweler, Burroughs is utterly lost, drinking himself nearly to death and trolling the streets for crack. His relationship with Foster has fallen to a place of shared addiction. When he hears the jeweler’s message, however, the very mention of Pighead’s name is enough to pull his wrecked body and spirit out of bed and out of his apartment. The first glimpse of the gold pig’s head is an instantaneous shot of therapy: “It comes out of me at once, propelled by a force all its own, a noise I’ve never made before. A gigantic laugh straddling a guttural sob” (282). The gift is symbolically so important because it represents to Burroughs several things at once. It is a literal reminder of his best friend, a jewel pig’s head to replace the living Pighead, still in his life even after death. It is also a totem of Pighead’s spiritual presence, watching Burroughs, keeping him honest and sober. It is the perfect gift for the author struggling with addiction and in the wake of death—a token of love and forgiveness. For Burroughs, who must live with the guilt of so much lost time, the gift is Pighead’s way of saying, I understand, I forgive you, and I will always love you. For Burroughs, the pig’s head implies an agreement: As long as the spirit of Pighead lives within the gold token, Burroughs must honor that gift by staying sober, not only for the sake of atonement but simply for himself.

The Crystal Decanter

As Burroughs reflects on the causes of his alcoholism, he dwells on a childhood memory—buying a faux crystal decanter from J.C. Penney and filling it with soda to mimic the aesthetics of his father’s liquor bottles, “beautiful and colorful like jewels.” Presaging his future career in advertising, Burroughs is drawn to the physical look of the product, romanticizing it as “the most beautiful thing, like something on The Price is Right” (30). While other factors—parental neglect and sexual abuse— undoubtedly play a bigger role in his addiction, the decanter is a powerful symbol of his addiction, which goes beyond the physical high of the alcohol to an almost reverential appreciation of the art and design of the entire environment. His meticulous description of the Cedar Tavern suggests he is no mere barfly but someone for whom drinking encompasses everything from the opulent and ornate back bar to the wattage of the bulbs that maintain an appropriately dim ambience. Whether that love of aesthetics was established early on with his purchase of the decanter is speculative, but it symbolizes the totality with which Burroughs invests himself in the complete experience of drinking.

The Addy Award

The American Advertising Awards (Addys) are the industry’s largest and “most representative” award, and Burroughs proudly displays his on his office bookshelf. The Addy, however, is more than a recognition of creativity and excellence. For Burroughs, it is a tangible symbol of his productivity. When Greer confronts him about his drinking, he justifies his behavior by thinking, “Bums, I want to remind her, do not make six-figure salaries. They do not have Addy Awards” (17). During their argument, Greer hurls his Addy Award across the room as if to say, Awards don’t matter as long as you’re sabotaging both of our careers. Burroughs admits, “[A]dvertising dictates that you’re only as good as your last ad” (2), and so for Greer, the Addy to which Burroughs clings as evidence that he’s perfectly fine is old news. The relentless forward momentum of the ad world doesn’t care about last year’s Addy, and Burroughs’s drinking is a direct threat to both his and Greer’s future.

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