This issue of TWAR features rare photographs in THNOC's holdings that were taken during the filming of A Streetcar Named Desire. Two essays examine soldiers who have returned from war in Williams's plays, and two essays offer comparisons of works by Faulkner and García Lorca to those of Williams. The semiotics of rape in his plays is considered, as well as Williams's social conscience and his early experiences with a progressive St. Louis theater group called the Mummers.