Paula Vogel is one of the leading American dramatists who has been deeply concerned with sexual violence and dangers of distorted family. How I Learned to drive makes her a distinctive writer on these subjects. The play starts with Li'l Bit's reminiscences of her younger days from 11 to 35. However her recollections are not followed by chronical order. By skillfully making her memories scrambled and mixed up with various episodes, Li'l Bit strives to reconstruct a real growth from sexual abuse of her childhood. Her memories and the recollections enable her to recover the pain of the past and reconcile with her younger self and her counterfoil, uncle Peck who abused her sexually at the age of 11. Vogel arranges Li'l Bit's fragmented memories for self awareness. On the process of compounding these scattered incidents, she borrows some techniques for aesthetic achievements. Including Brechtian epic forms, she puts a technique of “decalcomanie” into use, which we can see in the surrealism paintings. With the technique of decalcomanie, we can compare these two main characters and find some hidden clues to identifying Peck and Li'l Bit's relationship. They seem to be different superficially; however, they are closely matched and tied with some fragments. This means that even though Peck committed sexual abuse against Li'l Bit at a younger age, they share solid bonds with each other. The technique of decalcomanie focuses not only on the similar points between these two main characters, but also on the contradictorily vertical axis. Through some painful reminiscences of the past days, Li'l Bit finally realizes how disorientated she was and also restores a deeper understanding of Peck and his dreadfully desolate life. While Li'l Bit raises her awareness of the past self,Peck gradually declines to the depth of despairs and died. These two similar but contradictory characters lead to an aesthetically delicate balance through technique of decalcomanie.