When Flem Snopes came to clerk in her father’s store, Eula Varner was not quite thirteen. She was the last of the sixteen children, the baby, though she had overtaken and passed her mother in height in her tenth year. Now, though not yet thirteen years old, she was already bigger than most grown women and even her breasts were no longer the little, hard, fiercely-pointed cones of puberty or even maidenhood. On the contrary, her entire appearance suggested some symbology out of the old Dionysic times–honey in sunlight and bursting grapes, the writhen bleeding of the crushed fecundated vine beneath the hard rapacious trampling goat-hoof. She seemed to be not a living integer of her contemporary scene, but rather to exist in a teeming vacuum, hi which her days followed one another as though behind sound-proof glass, where she seemed to listen in sullen bemusement, with a weary wisdom heired of all mammalian maturity, to the enlarging of her own organs.

From The Hamlet (1940), the first volume of The Snopes Trilogy.

Carroll Baker from Baby Doll (Elia Kazan, 1956)