Sketching Books

“His torso was a perfect "V" of golden skin and muscle; his slim hips, whiter than the rest of him, tapered to thighs and calves that could have been turned on a lathe, and these were dusted all over with fair hair that glinted in the low sunlight. The hair on his head was cropped short and beacon-bright, but the features of his face were nearly indistinct from where she watched. Given the glory of the rest of him, they scarcely seemed to matter. The man's beauty was, in fact, an assault, and a peculiar tangle of shock and delight and yearning began to beat inside her like a secret, second heart.
And then the man stretched his arms upward, arching his back indolently; exposing the dark fluffs under his arms, and this, somehow, seemed more erotic and intimate than the rest of his naked body combined. Susannah had seen paintings and statues of naked men, for heaven's sake, but none of them had ever sported fluffy hair beneath their arms. In fact, the sheer easiness with which this man wore all his raw beauty frightened her a little. He was like someone too casually wielding a weapon.
She fumbled her sketchbook open.
Quickly, roughly, she sketched him: the upraised arms, the curves of his biceps and legs and the planes of his chest, and when he turned, the darker hair that curled between his legs and narrowed up to a frayed silvery-blond line over his flat stomach. Nestled right between his legs were, of course, his... male parts...which looked entirely benign at the moment, really, at least from this distance. She sketched those, too, as she intended to be thorough, hardly thinking of them as anything other than part of her drawing.”
― Julie Anne Long, Beauty and the Spy