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52 pages 1 hour read

Matthew Perry

Friends, Lovers, and the Big Terrible Thing

Nonfiction | Autobiography / Memoir | Adult | Published in 2022

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Symbols & Motifs

The Big Terrible Thing

The memoir’s titular “Big Terrible Thing” refers to the author’s addiction to alcohol and drugs. Suggestive of a monster too vast and horrifying to describe, the phrase symbolizes addiction’s overwhelming and terrifying nature. As Perry conceals his substance use from others, the “big terrible thing” is presented as a lurking presence that only he is aware of. Nevertheless, it dominates every aspect of his life, impacting his work and relationships. As his near-death experiences demonstrate, it also has the potential to kill him. The author personifies his “big terrible thing” as “my best friend and my evil friend and my punisher and my lover, all in one” (211). Suggesting both intimacy and revulsion, the description evokes addiction’s horrors and seductive qualities.

Batman

The superhero Batman is a recurring motif in Friends, Lovers, and the Big Terrible Thing. Perry first refers to the character at the end of the Prologue, cryptically claiming, “Also, I’m Batman” (11). The author explains his identification with the superhero later in the memoir, when he describes imagining his father as Superman and himself as Batman. The roleplay illustrates Perry’s idolization of the father he rarely sees and his childlike desire to be heroic and invincible.

In the Interlude entitled “Matman,” the author plays on the motif of Batman. Describing his misidentification of two ordinary citizens as famous movie directors, Perry humorously emphasizes how far he falls from demonstrating the superpowers of Batman. Meanwhile, in the Interlude “Holes,” Perry personifies his addiction as embodying the Joker’s nihilistic desire to “see the whole world burn,” suggesting that Batman’s enemy is akin to his own (136). Finally, Perry names his concluding chapter “Batman” to suggest that, by achieving sobriety, he has eventually discovered his inner superhero. In the concluding line, he advises anyone in a crisis to consider “What would Batman do?” (250).

A Geographic

Perry’s memoir frequently refers to doing or pulling “a geographic.” In literal terms, the author is describing his decision to move locations. Symbolically, Perry’s urge for an alternative geographical setting represents his desperate desire to escape from himself. Each change of scenery is an attempt to leave his issues with abandonment and addiction behind him.

The author first decides it is “time for a big geographic” when he leaves Canada, aged 15, to live with his father in Los Angeles. Keen to shake off his sense of alienation within his mother’s evolving family, he convinces himself that he will be happy in the USA. Perry repeats the pattern over the course of his life, buying a series of new houses with panoramic views to represent a fresh start. His eagerness to appear in projects in faraway states also fulfills the same longing. The author acknowledges that every move proves futile “[b]ecause wherever you go, there you are” (131). Perry’s sobriety at the end of the memoir signals an end to his search for the perfect location. His decision to have a house custom-built suggests that he can finally live comfortably with who he is.

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