48 pages • 1 hour read
Paula VogelA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Peck’s driving lessons represent his teaching Li’l Bit about sex and about life. Scene titles, which are announced by an overhead voice, serve to represent headers from a driving manual and life lessons Li’l Bit learns in the scenes.
The very first scene of the play takes place in Peck’s car. It begins with Peck making sexually-charged comments to Li’l Bit and ends with him fondling her breasts. That the car is traditionally a place for young lovers to meet for sex is not a coincidence, nor is the fact that Peck first molests her, at age 11, as she sits in his lap and drives his car. Peck’s comment to Li’l Bit that he “want[s] [her] to know [her] automobile inside and out” (32) suggests his desire for her to explore her sexuality. His specific instructions on how to position the mirrors and the seat and where to put her limbs eerily mimic the instructions a sexually-experienced person would impart to someone new to sex. His explanation that he calls a car a “she” because he likes to think of it as “someone who responds to your touch—someone who performs just for you and gives you what you ask for” (35) reaffirms the connection between driving and sex.
Peck’s desire for Li’l Bit to “drive with confidence” (34), to “be the only one to walk away” (35) from an accident, indicates his desire for her to be a strong person and to take care of herself. In the final scene, “Driving in Today’s World,” Li’l Bit floors the gas pedal and drives away. Alone in the car, but with Peck’s spirit behind her, Li’l Bit takes these life experiences and drives on into adulthood.
Secrets are established as a motif from the first line of the play, when Li’l Bit tells the audience, “Sometimes to tell a secret, you first have to teach a lesson” (9). How I Learned to Drive builds up to Li’l Bit’s telling that secret: that her Uncle Peck began molesting her when she was 11 years old. Li’l Bit has many secrets involving Peck. Peck tells Li’l Bit she “can’t tell anyone” (56) he lets her drive. When she’s 13, Li’l Bit suggests she and Peck get together once a week to talk, but she’ll “tell Mom [she’s] going to a girlfriend’s. To study” (47). Peck tells his nephew, Bobby, he won’t tell anyone Bobby was crying, saying, “I can keep secrets” (25). He also invites Bobby to “a secret place” (25), a “tree house where [Peck] used to stay for days” (25) and where they can have beer and crab salad, on the condition that Bobby doesn’t tell “anybody we’ve gone there—least of all your mom or your sisters” (25). Peck is simultaneously attractive and dangerous to children because of his ability to keep secrets. Though he appears kind to them, his secrets enable him to abuse them.
Whether one hides or reveals one’s secrets seems to indicate whether or not one survives one’s trauma. Peck has his own secrets from the war; he is hesitant to speak to Li’l Bit of his time in World War II, and even his wife Aunt Mary says he does not discuss this subject with her. Ultimately, Peck drinks himself to death, having never overcome the pain of his past. In contrast, immediately after revealing her own trauma to the audience, Li’l Bit, in the final scene, floors the gas and drives off down the highway, moving on both literally and figuratively.
The music of Li’l Bit’s childhood—music of the 1950s and 1960s—often accompanies the action of the play. A stage direction suggests the Greek Choruses sing “Dedicated to the One I Love,” “In the Still of the Night,” and “Hold Me” (31) after Mother, Grandmother, and Grandfather argue over sex and just before Peck gives Li’l Bit a driving lesson. “Sweet Dreams” plays as Peck takes Li’l Bit’s picture in his basement. Many of these songs are romantic or sexually suggestive. These popular songs are played as if Peck and Li’l Bit have a normal, appropriate relationship. The jarring contrast between the romance of the songs and the immorality of Peck’s relationship with Li’l Bit adds an ominous tone to these scenes. It also helps illuminate Li’l Bit’s ambivalence over her feelings for Peck. Li’l Bit stresses the importance of music in her life when she calls the radio dial “the most important control on the dashboard” (58).
By Paula Vogel