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  Xiuhtecuhtli Perfume Oil

  Patron of the Aztec pantheon, he is the personification of light within darkness, warmth in the cold, and life in, and after, death. He is a creative and destructive God of Fire and Light, and is appeased only by sacrifice, trial, and the slaughter of his people’s enemies. Copal, plumeria and sweet orange and the smoke of South American incense and crushed jungle blooms.

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  The Hall of Forgotten Gods Home & Linen Spray

  He was walking through a room bigger than a city, and everywhere he looked there were statues and carvings and rough-hewn images. He was standing beside a statue of a womanlike thing: her naked breasts hung flat and pendulous on her chest, around her waist was a chain of severed hands, both of her own hands held sharp knives, and, instead of a head, rising from her neck there were twin serpents, their bodies arched, facing each other, ready to attack. There was something profoundly disturbing about the statue, a deep and violent wrongness. Shadow backed away from it.

  He began to walk through the hall. The carved eyes of those statues that had eyes seemed to follow his every step.

  In his dream, he realized that each statue had a name burning on the floor in front of it. The man with the white hair, with a necklace of teeth about his neck, holding a drum, was Leucotios; the broad-hipped woman with monsters dropping from the vast gash between her legs was Hubur; the ram-headed man holding the golden ball was Hershef.

  A precise voice, fussy and exact, was speaking to him, in his dream, but he could see no one.

  “These are gods who have been forgotten, and now might as well be dead. They can be found only in dry histories. They are gone, all gone, but their names and their images remain with us.”

  Shadow turned a corner, and knew himself to be in another room, even vaster than the first. It went on farther than the eye could see. Close to him was the skull of a mammoth, polished and brown, and a hairy ocher cloak, being worn by a small woman with a deformed left hand. Next to that were three women, each carved from the same granite boulder, joined at the waist: their faces had an unfinished, hasty look to them, although their breasts and genitalia had been carved with elaborate care; and there was a flightless bird which Shadow did not recognize, twice his height, with a beak like a vulture’s, but with human arms: and on, and on.

  The voice spoke once more, as if it were addressing a class, saying, “These are the gods who have passed out of memory. Even their names are lost. The people who worshiped them are as forgotten as their gods. Their totems are long since broken and cast down. Their last priests died without passing on their secrets.”

  “Gods die. And when they truly die they are unmourned and unremembered. Ideas are more difficult to kill than people, but they can be killed, in the end.”

  Ancient incense and charred sacrifices echoing through time.

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  Ibis and Jacquel’s Funeral Parlor Home & Linen Spray

  Ibis and Jacquel was a small, family-owned funeral home: one of the last truly independent funeral homes in the area, or so Mr. Ibis maintained. “Most fields of human merchandising value nationwide brand identities,” he said. Mr. Ibis spoke in explanations: a gentle, earnest lecturing that put Shadow in mind of a college professor who used to work out at the Muscle Farm and who could not talk, could only discourse, expound, explain. Shadow had figured out within the first few minutes of meeting Mr. Ibis that his expected part in any conversation with the funeral director was to say as little as possible. “This, I believe, is because people like to know what they are getting ahead of time. Thus, McDonald’s, Wal-Mart, F. W. Woolworth (of blessed memory): store brands maintained and visible across the entire country. Wherever you go, you will get something that is, with small regional variations, the same.”

  “In the field of funeral homes, however, things are, perforce, different. You need to feel that you are getting small-town personal service from someone who has a calling to the profession. You want personal attention to you and your loved one in a time of great loss. You wish to know that your grief is happening on a local level, not on a national one. But in all branches of industry-and death is an industry, my young friend, make no mistake about that-one makes ones money from operating in bulk, from buying in quantity, from centralizing one’s operations. It’s not pretty, but it’s true. Trouble is, no one wants to know that their loved ones are traveling in a cooler-van to some big old converted warehouse where they may have twenty, fifty, a hundred cadavers on the go. No, sir. Folks want to think they’re going to a family concern, somewhere they’ll be treated with respect by someone who’ll tip his hat to them if he sees them in the street.”

  Mr. Ibis wore a hat. It was a sober brown hat that matched his sober brown blazer and his sober brown face. Small gold-rimmed glasses perched on his nose. In Shadow’s memory Mr. Ibis was a short man; whenever he would stand beside him, Shadow would rediscover that Mr. Ibis was well over six feet in height, with a cranelike stoop. Sitting opposite him now, across the shiny red table, Shadow found himself staring into the man’s face.

  “So when the big companies come in they buy the name of the company, they pay the funeral directors to stay on, they create the apparency of diversity. But that is merely the tip of the gravestone. In reality, they are as local as Burger King. Now, for our own reasons, we are truly an independent. We do all our own embalming, and it’s the finest embalming in the country, although nobody knows it but us. We don’t do cremations, though. We could make more money if we had our own crematorium, but it goes against what we’re good at. What my business partner says is, if the Lord gives you a talent or a skill, you have an obligation to use it as best you can. Don’t you agree?”

  “Sounds good to me,” said Shadow.

  “The Lord gave my business partner dominion over the dead, just as he gave me skill with words. Fine things, words. I write books of tales, you know. Nothing literary. Just for my own amusement. Accounts of lives.” He paused. By the time Shadow realized that he should have asked if he might be allowed to read one, the moment had passed. “Anyway, what we give them here is continuity: there’s been an Ibis and Jacquel in business here for almost two hundred years. We weren’t always funeral directors, though. We used to be morticians, and before that, undertakers.”

  “And before that?”

  “Well,” said Mr. Ibis, smiling just a little smugly, “we go back a very long way…”

  Egyptian embalming compound: beeswax and fir resin, myrrh, natron salt, cassia, palm wine, lichen, henna, and camphor.

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  Caligari A-Go-Go Perfume Oil

  A fragrance inspired by the atmosphere and art direction of the film — its layers of grit and ooze, pop-art colors standing out against a starless void, clumps of debris, fake flowers, vials of mystery fluid, rumpled straitjackets and crisp lab coats.

  Green amber, jasmine bud, cotton blossom, eucalyptus, secondhand smoke, dirt, and petitgrain.

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