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48 pages 1 hour read

Paula Vogel

How I Learned to Drive

Fiction | Play | Adult | Published in 1997

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Scenes 4-7Chapter Summaries & Analyses

Scene 4 Summary: “Shifting Forward from First to Second Gear”

Li’l Bit tells the audience that she was kicked out of school in 1970. Rumors about her sexual escapades circulated. The real reason, however, was that she drank too much whiskey.  

During the recession in 1970, she “slept on the floors of friends who were out of work themselves” (16) and worked “[a] string of dead-end day jobs that didn’t last very long” (16). 

 

At night, she took long drives along country roads. Often she would realize how easy it would be to steer violently off the road; however, “reflex took over” (16-17), and she “never so much as got a ticket” (17). She concludes her monologue by noting, “He taught me well” (17). 

Scene 5 Summary: “You and the Reverse Gear”

One evening in 1968, Li’l Bit and Peck are dining at a restaurant on the Eastern Shore in Maryland. As she returns from the ladies’ room, Peck tells her he chose this restaurant because she’s interested in history. He tells her a story about how the town managed to escape being attacked by the British. 

Peck asks her if she’d like a cocktail; he says he will not drink as long as she’s with him. After Li’l Bit expresses horror, reminding him she isn’t legal, he tells her they’re celebrating her getting her driver’s license and that on the Eastern Shore, restaurants are more “European,” in that they are “very understanding if gentlemen wish to escort very attractive young ladies who might want a before-dinner cocktail” (18). Li’l Bit relents. 

Female Greek Chorus appears as Mother, who relays “A Mother’s Guide to Social Drinking,” a list of rules for how a woman should drink while on a date with a man. Among the rules is that a lady should not get “sloppy,” though she can get “tipsy and a little gay” (18). She also shouldn’t order “ladies’ drinks” (18), or drinks with sugar or an umbrella. When Male Greek Chorus, as Waiter, approaches, Peck tells him “[t]he lady would like a drink” (19). Li’l Bit asks if a martini has sugar; when Waiter, who realizes she is underage, tells her there is not, she orders a dry martini. When she finishes it, Peck orders her another. 

Li’l Bit questions Peck about growing up in South Carolina and being in the Marines. He seems reluctant to answer all her questions. He tells her he doesn’t intend to go back to live in South Carolina because his mother would find him “a daily reminder of her disappointment” (20). Li’l Bit grows more and more intoxicated. 

Female Greek Chorus, as Mother, warns that ladies shouldn’t leave their drinks unattended. She offers advice on what to do if a lady finds that she’s had too much to drink, suggesting she can find a corner bathroom stall and make herself vomit. 

Li’l Bit, clearly drunk, asks for another martini; Peck orders one from Waiter, who reluctantly complies. When Li’l Bit calls Peck “Uncle Peck,” Waiter becomes cold. Drunk, Female Greek Chorus, as Mother, is escorted off stage by Waiter, bragging that she “once out-drank an entire regiment of British officers” (21) and advising how a lady can avoid having her “virtue” (21) stolen at the end of a date. 

Scene 6 Summary: “Vehicle Failure”

Peck helps a heavily intoxicated Li’l Bit to his car. When they arrive, he tells her they are going to “sit here until [her] tummy settles down” (22). Li’l Bit asks if he is going to take her upstairs; Peck asks if she wants to go upstairs. Li’l Bit says what they’re doing “isn’t right” and that it’s “not nice to Aunt Mary” (22). Peck says they’re “just going out to dinner” (22) and that Li’l Bit should “let [Peck] be the judge of what’s nice and not nice to [his] wife” (22).  

Peck reminds her that he hasn’t “forced” (23) her to do anything and that “nothing is going to happen between us until you want it to” (23). After a few moments, he asks her if she wants something to happen. Li’l Bit kisses him and says she doesn’t know. Peck, encouraged, says he’s happy to wait, that he’s “a very patient man” (23) and that he’s “been waiting for a long time” (23). 

 

When Li’l Bit begins to fall asleep, Peck retrieves a blanket from the back and places it over her. He then exits the car and walks toward the audience

Scene 7 Summary: “Idling in the Neutral Gear”

Peck tells his nephew, Bobby, who is not on stage but rather imagined by the audience, that they’re going to fish for pompano, “a very shy, mercurial fish” (24). It takes “patience” and “psychology” (24) to catch them. He tells Bobby to help himself to crab salad or beer. 

Peck says that “you don’t want to get too close” (24) to the water because pompano are “frisky and shy little things” (24). When something bites, Peck instructs Bobby to make sure his movements are “not too sharp” (24). When they pull up the line and find a pompano, Peck is proud of Bobby, for they “are hard to catch” (24). 

Bobby begins crying and asking if fish feel pain; Peck says he doesn’t “know how much pain a fish feels” (25). Bobby is embarrassed for crying; to comfort him, Peck tells him he’s “just real sensitive” (25) and that “that’s wonderful at your age” (25). He asks if Bobby wants him to cut the fish free. After he does, he assures Bobby the fish will “swim back to its lady friend” (25) and that “they’ll do something alone together that will make them both feel good and sleepy” (25). 

Peck assures Bobby that he won’t tell anyone he was crying. He invites him to have beer and crab salad in a treehouse, “a secret place” (25) Bobby can’t tell anyone about.  

In a new scene, Li’l Bit sits at the kitchen table with Female Greek Chorus, as Mother, and Teenage Greek Chorus, as Grandmother. Mother says that “[m]en only want one thing” (25) and that women shouldn’t give it to them. Grandmother says Grandfather “is just a big bull” (25) and that they have sex twice a day. Mother asks Grandmother if she has ever experienced an orgasm. Grandmother says “[t]hat’s just something you and Mary have made up” (26). They discuss how Grandmother was only 14 when she was married.  

Grandfather comes into the kitchen for a cookie and says he “picked your grandmother out of that herd of sisters just like a lion chooses the gazelle—the plump, slow, flaky gazelle dawdling at the edge of the herd” (26). Mother and Grandmother discuss the importance of keeping a broom, rolling pin, or fry pan around with which to hit their husbands. After Grandfather leaves, Mother and Grandmother continue discussing men’s sex drives, growing more and more “raucous” and “aroused” (27). 

Scenes 4-7 Analysis

Mother’s rules, “A Mother’s Guide to Social Drinking,” establish society’s expectations of women. Women should be elegant in appearance and behavior: they can be “a little gay” but not “sloppy,” they should “avoid anything with sugar, or anything with an umbrella” (18), and they should sip delicately while offering “interesting, fascinating conversation” (18). More ominously, they should not give men an opportunity to spike their drinks, and just in case they become incapacitated from alcohol, they should “wear a skin-tight girdle” (21) so that their date will “end up with rubber burns on his fingers” (21) if they try to assault them. That these rules are interspersed between depictions of Li’l Bit’s dinner out with Uncle Peck makes them that much more alarming. Even the more benign hints focusing on impressing one’s date are disturbing in this context. Mother, we will find later, does not approve of Peck’s fixation on her daughter. Her perspectives on men, sex, and gender roles, however, help create confusion in Li’l Bit and contribute to her sense of feeling lost. While Mother may not be responsible for what happens between Peck and Li’l Bit, her relating the rules of dating during Li’l Bit’s romantic dinner with Peck suggests that she has normalized to her daughter sexual objectification and even assault.  

Peck himself normalizes his behavior by denying the sexual overtones of the evening, thus manipulating Li’l Bit by insisting she is imagining them. He tells Li’l Bit that her ordering a cocktail would be appropriate because the restaurant is more “European” (18). Later, in his car, when Li’l Bit expresses regret that “[w]hat we’re doing” is “very wrong” (22), his response—“What are we doing?” (22)—casts his intentions as innocent and benign. Li’l Bit’s powers of observation have been doubted before: Mother, too, made light of Li’l Bit’s concerns during family dinner by suggesting Li’l Bit was overly sensitive in her discomfort with Grandfather’s teasing. Li’l Bit is frequently told that inappropriateness is merely a product of her imagination. She is not only objectified but also trivialized.  

Perhaps most troubling is Peck’s manipulating the conversation to make it appear as if a sexual relationship would be Li’l Bit’s own choice. Assuring her they are “just enjoying each other’s company” (23), he says that “[n]othing is going to happen until you want it to” (23). Implicit in this comment is the suggestion that she will, one day, want it to: his use of the word “until” makes clear that a sexual relationship is only a matter of time. By gently assuring her he will patiently wait for her to initiate sex, he establishes his expectation of it.  

The scene in which Peck teaches his nephew, Bobby, how to catch pompano offers a metaphor for how Peck entices Li’l Bit and, presumably, Bobby. Peck talks about how the pompano are “very shy” (24) and how one must use “patience” and “psychology” (24) to catch them. He notes one cannot “get too close” (24), lest one scare them away. One must be “not too sharp” (24) when tipping the rod up and “easy” (24) when reeling it in. Similarly, Peck uses psychology and gentleness with Li’l Bit. In this light, Peck’s response to Bobby’s concern over whether the fish feels pain—“[Y]ou can’t think of that” (25)—is all the more disturbing. By having him talk about his preying on Li’l Bit in terms of fishing, Vogel enables him to acknowledge his manipulation in a way he can’t when talking to Li’l Bit herself. 

Peck’s tenderness with Bobby, when Bobby cries, is the same tenderness we see in his interactions with a hesitant Li’l Bit; as he does with Li’l Bit, Peck places an emphasis on secrecy, inviting him to “a secret place” where they can share crab salad and beer. Bobby’s not having any lines seems to suggest his powerlessness, reinforcing that he, too, is likely being abused by Peck. 

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