How I Learned to Drive -- by Paula Vogel (1998)

Description
The last piece of literature that made me feel this uncomfortable was Toni Morrison's Beloved. Somehow, I think this play was even more relentless.

Playbill.com describes the play in the following: "A young woman's coming-of-age in the 1960's and 70's is defined by driving lessons provided by her uncle, lessons which extend well beyond learning the rules of the road."

Yes, the play centers on an incestuous relationship, a tale of sexual abuse. The play reminds me somewhat of The Last Five Years in that the work investigates a failed, pained, destructive relationship between two people anachronistically. How I Learned to Drive is told by Li'L Bit, who has received her name through a remarkably crude family tradition. She recounts her childhood relationship with her uncle. The memories mostly are told in reverse, so that we begin with shocking moments between the two of them at first and discover the origins of their relationship later. Mostly, we see Li'l Bit being misunderstood and Uncle Peck trying to escape failures through controlling the innocent.

I should also mention that the play includes three other actors who play the roles of "Female Greek Chorus," "Male Greek Chorus," and "Teenage Greek Chorus." These actors portray several roles. 

Vogel achieves audience discomfort through enacting the audience's imagination. She does so through metaphors and diction/connotation. 

Who would ever want to perform this show? Who would ever want to see this show? I ask those questions because the writing is too terribly perfect. 
  

Candid Reactions

• Mary-Louise Parker definitely had a moment at the turn of the century in theater!
• David Morse and Johanna Day have been in so many important works!
• It feels almost sacrilegious to compare Peck to Atticus Finch. Vogel is making a statement in that comparison. 
• The first line of the play is one of the best hooks of any of these plays: "Sometimes to tell a secret, you first have to teach a lesson" (7). Not only does this pique the audience's attention, but it also sums up a message of the play. 
• Okay, this direction about having the actors face forward during this first exchange is BRILLIANT. 
• How backwards is it for Peck to say, "Do I get a reward? For not drinking?" (10)
• Oh, shoot. He's her uncle . . . 
• Vogel establishes early how Li'l Bit was innocent although she gives Peck permission to behave immorally. 
• Oh my! The Male Greek Chorus disgusts me when he says his line about the uselessness of Shakespeare. I cannot even type what he said. 
• The mother's advice seems to have reveal so much about her. 
• The anecdote of Peck and his nephew completely mortifies me. That fishing scene . . . 
• How interesting that Vogel has Li'l Bit seduce a younger, naive boy. It is odd to have Li'l Bit create empathy for Peck. 
• I seriously cannot type some of these lines -- not because they are crude in their language, but the implications of what they mean make my body squirm. 
• The misogyny in this text is rampant. Peck adds, "I want to teach you how to drive like a man" (50). 
• Li'l Peck's recognition that cars are always "she's" is thematic. 
• Her Mary Jane joke is as jarring as the racist joke in Clybourne Park. 
• Peck's manipulation of line-drawing is aggravating. 
• Education seems to be the out. 
• I can't imagine the audience's reaction when Li'l Bit finally says, "You've got to treat her . . . with respect" (91). 
• I wonder how many essays have been written about the role of music in this play.
• Okay, that was a brutal text.  

Top Two Aspects/Reasons for Winning
1. Sexual Abuse Examined
Certainly this play is not the only play to touch on topics of abuse, sexuality, and incest. However, what makes this play unique is that it seems to only focus on those three topics. The theme of control threads the topics together. No other play more directly focuses on the complicated and disturbing topic of sexual abuse -- what's even more appalling is that this happens within a family in the play. Vogel does not paint with broad brushstrokes. She recounts a relationship of abuse that shows the audience how these relationships develop, especially psychologically. Not once does Vogel excuse Peck, but she provides his background. Not once does she victim-blame Li'l Bit, but she notes how Li'l Bit's actions informed the abusive relationship. Vogel demands the audience to acknowledge the complexity of sex, abuse, and family relationships. 

2. The Power of Metaphor
Vogel's writing is almost incomparable in this project in terms of using figurative language. She defers to implication, and masterfully so. Instead of relaying the acts physically, overtly, or graphically, she relays the acts figuratively and subtly. Her use of extended metaphor with driving is perfect. Her use of metaphoric anecdotes is also incredibly unnerving. 

Classroom Implications
NEVER. EVER. IN. HIGH. SCHOOL.

I feel as if the play is essential reading for aspiring playwrights and fiction writers. It could be a model text for students in those fields.

Personal Takeaway
Implicit language can do what explicit language cannot.

Ranking 

	Dialogue	Characters	Plot/Conflict	Symbol/Literary Devices	Overall Enjoyment	TOTAL SCORE 8.75
0	Unfollowable; unrealistic; diction does not match character	Undeveloped; does not reflect humanity	Not engaging; predictable; reader can step away from text because it isn’t gripping	Devices are apparent for cleverness and do not enhance the story	Reader has no interest in re-reading play
1	Not consistently realistic	Well-developed; most depictions reflect humanity	Semi-engaging; some unnecessary plot-points	Devices somewhat enhance story	Reader would re-read with pleasure and reminded of work (1.25)
2	Realistic; connotative; diction matches characters (2)	Fully-developed; depictions reflect humanity (1.75)	Engaging; unique; reader finds it impossible to put down text because the conflict is so gripping! (1.75)	Devices seamlessly enhance the story and provide rich interpretation (2)	Reader would re-read the play on own volition, enthusiastically