[When she stopped Pietro hid himself behind a bush which was only one yard away from her and where he could see her.

She was slowly undressing as people do in a train berth. Sitting down, so as not to be seen from the road, she was unbottoning first of all her blouse while Pietro held his breath. Her shoulders gleaned. Her curves were so softly rounded that she seemed to have no bones in her body. She moved every time bonelessly like a hula-hula dancer. Even sitting down she offered such undulant movements as to appear to be dancing  provocatively. Her shapely shoulders appeared first, gleaming in the sun. She shook her hair away from them. Now her breasts appeared, the hard, roseate tips trembling at her movements to shake off the blouse. Like sand dunes, perfect and golden they appeared…and as she was offered some difficulties by the blouse, which pinned her arms in the back of her, in her impatience trying to shake it off she shook her breasts too, like a Hawaiian dancer, and created such disorder that it seemed she had just torn away from some secret couch of love where hands had created such a havoc with the stubbornly clinging blouse, her arms pinned over her head, and her hair and breasts mingling and getting in each other’s way.

Pietro was obliged to abandon his crouching position, and to lie flat on his stomach because his muscles were trembling at the sight.

He almost wanted to beg not to be shown any more for the moment; the sight affected him so acutely he wanted to make it last, prolong the ecstasy…]

-Anais Nin, Auletris (written c. 1940–1941, pub. 2016)

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