How I Learned Drive was so interesting to me because it was one of the first plays we have read this semester in which I have actually liked the characters, including Uncle Peck. If the family's ridiculous and constant allusions to sexuality didn't lend themselves to such problems for Lil' Bit's development/ weren't so graphic it would be basic family sit com material. The author's production notes also refer to the important use of humor in this play to contrast with the heavy sexual themes.

I also found a lot of the metaphors and cultural references in this play interesting. I would have never realized that 60's music was so rife with pedophilia references, employing this lighthearted music during the dance scene where Peck and Lil' Bit interact from afar would have definitely heightened the sexual tension between them and also reminded the audience of the wrongness of the situation. Because learning to drive is the long running metaphor for Lil' Bit's experiences in learning about who she is, the automobile is an important symbol. I think this play explored the fascination men have with cars (something I have never really understand) in a very explicit way. When Uncle Peck erotically describes the car as "someone who responds to your touch- someone who performs just for you and gives you what you ask for-", he gives an interesting description of what the car can represent in a male world, and also gives the audience insight into what he is thinking, he is clearly preoccupied with sexual thoughts. Especially when in Lil' Bit's company. Sexism and gendered stereotypes are profuse in this play, in all of the different scenes and moments in time that the piece chronicles. I think this is why it is so satisfying to watch Lil'Bit shut Uncle Peck down in the hotel room, and then listen to her speak as an adult about "flooring it" into the future. Its immensely gratifying to see her leave all of it behind.

I found August Wilson's 1996 address to be powerful and innovative. His opinion of color blind casting completely reformed my concept of it. Color blind casting, with out deeper examination, seems to be a practice in place to ensure equal opportunities to actors of color. But Wilson's proclamation that " We want you to see us. We are black and beautiful" condemns the idea that color blind casting is an extension of equality, and asserts that it attempts to assimilate black people into white culture because blackness is some kind of undesirable quality.

The other part of Wilson's speech I found to be the most powerful was his statement that "The history of our bodies... is not for rent". It is an interesting way to look at the tradition of the telling of black history in America. Where is the line drawn between historical retelling and increasing awareness of the African struggle in America and the use of that struggle for dramatic/entertainment purposes. I hate to think that the marginalization of the African race is told through the theatre to engage audiences and win Tony's. But I can understand why Wilson would feel this way, especially if it is a story that is told by white actors and white directors who have no personal investment in the historical significance.

The historical marginalization of African Americans in America is what makes Wilson's story different than Arthur Miller's death of a salesman. I thought it was especially interesting to read Top Girls right after reading Wilson's play and speech. Although it deals with completely different time periods and a completely different struggle, I found the women's struggle to be so similar to Troy's and his family. Both plays examined how social roles and cultural mores change an individuals life course and make many things out of one's own control.