"And now is as good a time as any to say that she was beautiful. In the dark beside me, she smelled of sweat and sunshine and vanilla, and on that thin-mooned night I could see little more than her silhouette except for when she smoked, when the burning cherry of the cigarette washed her face in pale red light. But even in the dark, I could see her eyes - fierce emeralds. She had the kind of eyes that predisposed you to supporting her every endeavor. And not just beautiful, but hot, too, with her breasts straining against her tight tank top, her curved legs swinging back and forth beneath the swing, flip-flops dangling from her electric-blue-painted toes. It was right then, between when I asked about the labyrinth and when she answered me, that I realized the importance of curves, of the thousand places where girls' bodies ease from one place to another, from arc to the foot to ankle to calf, from calf to hip to wait to breast to neck to ski-slope nose to forehead to shoulder to the concave arch of the back to the butt to the etc. I'd noticed curves before, of course, but I had never quite apprehended their significance."
— John Green (Looking for Alaska)