Books about Augusten from Amazon.com

Ever since he was small, John Robison had longed to connect with other people, but by the time he was a teenager, his odd habits—an inclination to blurt out non sequiturs, avoid eye contact, dismantle radios, and dig five-foot holes (and stick his younger brother in them)—had earned him the label “social deviant.” No guidance came from his mother, who conversed with light fixtures, or his father, who spent evenings pickling himself in sherry. It was no wonder he gravitated to machines, which could, at least, be counted on.

After fleeing his parents and dropping out of high school, his savant-like ability to visualize electronic circuits landed him a gig with KISS, for whom he created their legendary fire-breathing guitars. Later, he drifted into a “real” job, as an engineer for a major toy company. But the higher Robison rose in the company, the more he had to pretend to be “normal” and do what he simply couldn’t: communicate. It wasn’t worth the paycheck.
It was not until he was forty that an insightful therapist told him he had the form of autism called Asperger’s syndrome. That understanding transformed the way Robison saw himself—and the world.

Look Me in the Eye is the moving, darkly funny story of growing up with Asperger’s at a time when the diagnosis simply didn’t exist. A born storyteller, Robison takes you inside the head of a boy whom teachers and other adults regarded as “defective,” who could not avail himself of KISS’s endless supply of groupies, and who still has a peculiar aversion to using people’s given names (he calls his wife “Unit Two”). He also provides a fascinating reverse angle on the younger brother he left at the mercy of their nutty parents—the boy who would later change his name to Augusten Burroughs and write the bestselling memoir Running with Scissors.

Ultimately, this is the story of Robison’s journey from his world into ours, and his new life as a husband, father, and successful small business owner—repairing his beloved high-end automobiles. It’s a strange, sly, indelible account—sometimes alien, yet always deeply human..
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There is a passage early in Augusten Burroughs's harrowing and highly entertaining memoir, Running with Scissors, that speaks volumes about the author. While going to the garbage dump with his father, young Augusten spots a chipped, glass-top coffee table that he longs to bring home. "I knew I could hide the chip by fanning a display of magazines on the surface, like in a doctor's office," he writes, "And it certainly wouldn't be dirty after I polished it with Windex for three hours." There were certainly numerous chips in the childhood Burroughs describes: an alcoholic father, an unstable mother who gives him up for adoption to her therapist, and an adolescence spent as part of the therapist's eccentric extended family, gobbling prescription meds and fooling around with both an old electroshock machine and a pedophile who lives in a shed out back. But just as he dreamed of doing with that old table, Burroughs employs a vigorous program of decoration and fervent polishing to a life that many would have simply thrown in a landfill. Despite her abandonment, he never gives up on his increasingly unbalanced mother. And rather than despair about his lot, he glamorizes it: planning a "beauty empire" and performing an a capella version of "You Light Up My Life" at a local mental ward. Burroughs's perspective achieves a crucial balance for a memoir: emotional but not self-involved, observant but not clinical, funny but not deliberately comic. And it's ultimately a feel-good story: as he steers through a challenging childhood, there's always a sense that Burroughs's survivor mentality will guide him through and that the coffee table will be salvaged after all. --John Moe.
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Fans of Augusten Burroughs's darkly funny memoir Running with Scissors were left wondering at the end of that book what would become of young Augusten after his squalid and fascinating childhood ended. In Dry, we find that although adult Augusten is doing well professionally, earning a handsome living as an ad writer for a top New York agency, Burroughs's personal life is a disaster. His apartment is a sea of empty Dewar's bottles, he stays out all night boozing, and he dabs cologne on his tongue in an unsuccessful attempt to mask the stench of alcohol on his breath at work. When his employer insists he seek help, Burroughs ships out to Minnesota for detoxification, counseling, and amusingly told anecdotes about the use of stuffed animals in group therapy. But after a month of such treatment, he's back in Manhattan and tenuously sober. And while its one thing to lay off the sauce in rehab, Burroughs learns that it's quite another to resume your former life while avoiding the alcohol that your former life was based around. This quest to remain sober is made dramatically more difficult, and the tale more harrowing, when Burroughs begins an ill-advised romance with a crack addict. Certainly the "recovered alcoholic fighting to stay sober" tale is not new territory for a memoirist. But Burroughs's account transcends clichés: it doesn't adhere to the traditional "temptation narrowly resisted" storyline and it features, in Burroughs himself, a central character that is sympathetic even when he's neither likable nor admirable. But what ultimately makes this memoir such a terrific read is a brilliant and candid sense of humor that manages to stay dry even when recalling events where the author was anything but. --John Moe.
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Light and funny, with a bitter aftertaste, the action of Sellevision takes place behind the scenes (and on the set) of a successful television shopping network, where a feminine role model, Peggy Jean Smythe, the married, Christian mother of three, begins receiving suspicious e-mail from a viewer who insists that Peggy's hairy earlobe is obscuring her presentation of jewelry during the broadcast. When Peggy fails to respond to the e-mail, but silently waxes her lobe, the cruel notes escalate, until Peggy believes herself to be suffering from a hormonal crisis that has given her a mustache, a gruff voice, and the manner of a lumberjack. Meanwhile, one of her cohosts, Max Andrews, has been fired for accidentally exposing himself during a children's special, and learns just how undesirable a commodity a penis-baring ex-Sellevision host can be on the job market. The book is an unusually smooth read for a first novel, with six or seven truly inspired lines. --Regina Marler.
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It's best to know this from the start: Augusten Burroughs is mean. Augusten Burroughs is also outrageously X-rated. If you can get past those two things, Burroughs might just be the most refreshing voice in American books today, and his collection of acerbic essays will have you laughing out loud even while cringing in your seat. Whether he is stepping on the fingers of little children or giving you the blow-by-blow on a very unholy act, Burroughs manages to do it in a way that fills conflicted fans with both horror and glee.

Spanning from the surprisingly Machiavellian portrayal of his role in a Tang commercial at age seven to his more recent foray into dog ownership, Burroughs has what seems to be an endless supply of offbeat life experiences. Much like earlier David Sedaris collections (Barrel Fever or Naked), there are occasional fits and starts in the flow of the writing, but ultimately, Magical Thinking is worth reading (and re-reading). If you're familiar with Burroughs's memoirs, Running with Scissors, and Dry, you may find parts of Magical Thinking repetitive, since these essays bounce around in time between the other two. In fact, in an ideal world, this collection would have come first, as it offers an excellent introduction to Burroughs's fascinating life. --Vicky Griffith.
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