Throughout his secondary career as a fiction writer, Tennessee Williams repeatedly staged dramas of female appetite. This theme also anchors some of his seminal stagework: A Streetcar Named Desire, Summer and Smoke, The Rose Tattoo, and Kingdom of Earth all pivot upon women's sexual needs and satisfactions. Charlotte Cooper, Psychotherapist, describes herself and other fat women as super-visible and vulnerable as targets and argues that the fear of fat encourages people to be judgmental about corporeal deviance, particularly that observed in women. Mrs. Meighan of 'Twenty-seven Wagons Full of Cotton' mirrors several of the best-known women in American short fiction. The most successful stories discussed are 'Twenty-seven Wagons', 'In Memory of an Aristocrat', and 'Two on a Party' explore the hostile fascination that heavy and sexed women receive from impromptu audiences while also freeing observers from impotent spectatorship. Williams thus rehearses in his fiction a theatrical intuition that, of generic necessity, languished unaddressed in his plays.