In “How I Learned to Drive,” on Broadway, Mary-Louise Parker’s character is a kind of hyperverbal hero who, through considerable darkness, speaks light, and life, into being.
, nothing more—can come to constitute not only a person but the entire social world that surrounds him.
I kept thinking about “Peter Hujar’s Day,” and about how talk can be a free gift between friends—the gift beingthan any one person can witness on her own—as I went to see plays in the past month.
There’s a teacher, too, in Paula Vogel’s “How I Learned to Drive,” up on Broadway at the Samuel J. Friedman, directed by Mark Brokaw. His name is Peck , and he’s the uncle, by way of marriage, of Li’l Bit . He’s been manipulating her into an ever-darker, ever more intricately difficult scenario of sexual abuse. The play opens in a car: it’s the scene, we soon understand, of many instances of abuse, and the pretext for the pair’s time alone over the years.
In most families, relatives get names like, “Junior,” or “Brother,” or “Bubba.” In my family, if Grandma calls her husband “Big Papa,” it’s not because he’s tall. In my family, folks tend to get nicknamed for their genitalia. Uncle Peck, for example. My Mama’s adage was “the titless wonder,” and my cousin Bobby got branded for life as “B.B.”—for blue balls.
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