First of all she thrust her breasts forward, as if to assert that hers was a breathing, generous body, and not just a painting. But they were in curious antiphony, the quick-turning sharp-featured head with its untamed hair, and the body with its separate language, the language of the strip teaser; for, after raising her breasts upward and outward as a swimmer might before diving, she continued to undulate, and although one could not trace the passage of her hand over various places on her body, Lillian had the feeling that, like the strip teaser, she had mysteriously called attention to the roundness of her shoulder, to the indent of her waist. And what added to the illusion of provocation was that, having dressed herself with the lavishness of ancient civilizations, she proceeded gradually to strip herself. It was her artistic interpretation of going native.

Anaïs Nin | Seduction of the Minotaur