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• W76887806 abstract "In Paula Vogel's Pulitzer Prize-winning drama How I Learned Drive (NY: Theatre Communications Group, 1998), chronologies weaving throughout three decades chart the progress of Uncle Peck's sexual abuse of his niece, Li'l Bit. The play alternates among moving forward, moving backward, and remaining stationary in time. Vogel's titles in stage directions provide driving instructions guide the reader through Li'l Bit's shifts in age from her forties eleven years old. Much of the action takes place in the 1960s, when Li'l Bit, the narrator and protagonist of the play, is a teenager, but the frame around the drama takes place in the present day, when the adult Li'l Bit tells her story of healing and states her forgiveness of Uncle Peck. a scene moves forward chronologically, the titles in the stage directions indicate in the First Gear or Shifting from First Second Gear. Leaps over several years' time are signaled by titles such as Shifting from Second Third Gear and When Making a Left Turn, Must Downshift While Going Forward (40, 72). Six movements backward in time are signaled by the phrase You and the Reverse Gear. Undated scenes, introduced as Idling in the Neutral Gear, reflect Li'l Bit's adult understanding. Vogel's production notes for live theatrical productions indicate that the titles should be spoken in a neutral voice (the type of voice that driver education films employ) (5). The driving motif also includes questionable lessons about Defensive Driving and Vehicle Failure (30, 51), delivered by the Greek Chorus. Many of the best and worst moments in Li'l Bit's life occur in a car: while she is taught drive by Uncle Peck, his abuse of her often takes place in vehicles. The closing scene, set in the present time, is subheaded in Today's World and evokes driving as a liberating activity because Li'l Bit has learned survive (90). Vogel's choice render Li'l Bit's and Peck's relationship non-chronologically manipulates the audience's understanding of the affair. This dramatic structure reveals what theater scholar Jill Dolan calls the complexity of the relationship, enabling the playwright to build sympathy for a man who might otherwise be despised and dismissed as a child molester (Review of How I Learned Drive, Theatre Journal 50: March 1998, page 127). The non-linear chronologies complicate the extent of Uncle Peck's villainy. The fact that he is a sexual predator taking advantage of his young, fatherless niece is undeniable, but flirtatious remarks on Li'l Bit's part--a personality into which his abuse has twisted her--often make her appear complicit in the relationship. For instance, the opening scene, set in 1969, dramatizes the seventeen year old Li'l Bit relenting her Uncle's begging touch her intimately (Vogel 10). …" @default.
• W76887806 created "2016-06-24" @default.
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• W76887806 date "2006-01-01" @default.
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• W76887806 title "Driving in the Reverse Gear: Alienation and Non-Linear Chronology in Paula Vogel's How I Learned to Drive" @default.
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