Vogel's inspired, witty, structurally daring Baltimore Waltz (1992) put her on the map and had regional theaters clamoring to produce her, but How I Learned to Drive won her the Pulitzer Prize. Much darker and richer than Waltz, it deals with charged issues of sexuality and sexual abuse with remarkable grace. In a series of flashbacks and flash-forwards, How chronicles an uncle-and-niece relationship as it progresses, during the course of a number of driving lessons, from friendship to unhealthy closeness to a kind of sexual abuse that, no less wounding for its subtlety, constitutes a betrayal that is all the more damaging because Uncle Peck has become such an important confidant for Li'l Bit. A runaway success when it opened in 1997, the play is as moving on the page as it was on the stage. It is paired here with a campy satire of gender roles in the '50s, '60s, and '80s that also deals with sexuality, power, and the infantile American obsession with breast size--hence the book's title. Jack Helbig
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Wildly funny dialogue. Like HILTD better than The Mineola Twins with its characters too much like types.
评分在图书馆还书ddl前读了how i learned to drive, 想看表演，脑内自己切换人物对白好累。
评分本年度所读最喜欢的剧本。
评分Wildly funny dialogue. Like HILTD better than The Mineola Twins with its characters too much like types.
评分Wildly funny dialogue. Like HILTD better than The Mineola Twins with its characters too much like types.
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