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• 

  Horreur Sympathique Perfume Oil

  From livid skies that, without end,
  As stormy as your future roll,
  What thoughts into your empty soul
  (Answer me, libertine!) descend?

  – Insatiable yet for all
  That turns on darkness, doom, or dice,
  I’ll not, like Ovid, mourn my fall,
  Chased from the Latin paradise.

  Skies, torn like seacoasts by the storm!
  In you I see my pride take form,
  And the huge clouds that rush in streams

  Are the black hearses of my dreams,
  And your red rays reflect the hell,
  In which my heart is pleased to dwell.

  The perfume of a hellbound soul, gleefully lost to iniquity: blood musk, golden honey, thick black wine, champagne grapes, tobacco flower, plum blossom, tonka bean, oakmoss, carnation, benzoin, opoponax, and sugar cane.

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• 

  Schrodinger’s Cat Perfume Oil

  One can even set up quite ridiculous cases. A cat is penned up in a steel chamber, along with the following diabolical device (which must be secured against direct interference by the cat): in a Geiger counter there is a tiny bit of radioactive substance, so small that perhaps in the course of one hour one of the atoms decays, but also, with equal probability, perhaps none; if it happens, the counter tube discharges and through a relay releases a hammer which shatters a small flask of hydrocyanic acid. If one has left this entire system to itself for an hour, one would say that the cat still lives if meanwhile no atom has decayed. The first atomic decay would have poisoned it. The Psi function for the entire system would express this by having in it the living and the dead cat (pardon the expression) mixed or smeared out in equal parts. It is typical of these cases that an indeterminacy originally restricted to the atomic domain becomes transformed into macroscopic indeterminacy, which can then be resolved by direct observation. That prevents us from so naively accepting as valid a “blurred model” for representing reality. In itself it would not embody anything unclear or contradictory. There is a difference between a shaky or out-of-focus photograph and a snapshot of clouds and fog banks.

  A paradoxical scent experiment! – tangerine, sugared lime, pink grapefruit, oakmoss, lavender, zdravetz, and chocolate peppermint.

  No cats were mistreated during the formulation of this paradox, or in the process of creating this perfume.

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• 

  The Day Burned White Perfume Oil

  Using the door, which was centrally placed in the wall like a mouth, the artists had sprayed a single, vast head onto the stripped plaster. The painting was more adroit than most she had seen, rife with detail that lent the image an unsettling veracity. The cheekbones jutting through skin the color of buttermilk; the teeth, sharpened to irregular points, all converging on the door. The sitter’s eyes were, owing to the room’s low ceiling, set mere inches above the upper lip, but this physical adjustment only lent force to the image, giving the impression that he had thrown his head back. Knotted strands of his hair snaked from his scalp across the ceiling. Was it a portrait? There was something naggingly specific in the details of the brows and the lines around the wide mouth; in the careful picturing of those vicious teeth. A nightmare certainly: a facsimile, perhaps, of something from a heroin fugue. Whatever its origins, it was potent. Even the illusion of door-as-mouth worked. The short passageway between living room and bedroom offered a passable throat, with a tattered lamp in lieu of tonsils. Beyond the gullet, the day burned white in the nightmare’s belly. The whole effect brought to mind a ghost train painting. The same heroic deformity, the same unashamed intention to scare. And it worked; she stood in the bedroom almost stupefied by the picture, its red-rimmed eyes fixing her mercilessly.

  Plaster and spraypaint, mottled with buttermilk – sweet, chalky, and edging on sickly. White and golden amber beams of daylight pour through the belly of the scent, while oakmoss and Spanish moss add a touch of decay.

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• 

  The King’s Daughter Perfume Oil

  There were a prince and a princess sitting by a stream in a wooded valley. Their seven servants had set up a scarlet canopy beneath a tree, and the royal young couple ate a box lunch to the accompaniment of lutes and theorbos. They hardly spoke a word to one another until they had finished the meal, and then the princess sighed and said, “Well, I suppose I’d best get the silly business over with.” The prince began to read a magazine.

  “You might at least –” said the princess, but the prince kept on reading. The princess made a sign to two of the servants, who began to play an older music on their lutes. Then she took a few steps on the grass, held up a bridle bright as butter, and called, “Here, unicorn, here! Here, my pretty, here to me! Comecomecomecomecome!”

  The prince snickered. “It’s not your chickens you’re calling, you know,” he remarked without looking up. “Why don’t you sing something, instead of clucking like that?”

  “Well, I’m doing the best I can,” the princess cried. “I’ve never called one of these things before.” But after a little silence, she began to sing.

  I am a king’s daughter,
  And if I cared to care,
  The moon that has no mistress
  Would flutter in my hair.
  No one dares to cherish
  What I choose to crave.
  Never have I hungered,
  That I did not have.

  I am a king’s daughter,
  And I grow old within
  The prison of my person,
  The shackles of my skin.
  And I would run away
  And beg from door to door,
  Just to see your shadow
  Once, and never more.

  So she sang, and sang again, and then she called, “Nice unicorn, pretty, pretty, pretty,” for a little longer, and then she said angrily, “Well, I’ve done as much as I’ll do. I’m going home.”

  The prince yawned and folded his magazine. “You satisfied custom well enough,” he told her, “and no one expected more than that. It was just a formality. Now we can be married.”

  “Yes,” the princess said, “now we can be married.” The servants began to pack everything away again, while the two with the lutes played joyous wedding music. The princess’s voice was a little sad and defiant as she said, “If there really were such things as unicorns, one would have come to me. I called as sweetly as anyone could, and I had the golden bridle. And of course I am pure and untouched.”

  “For all of me, you are,” the prince answered indifferently. “As I say, you satisfy custom. You don’t satisfy my father, but then neither do I. That would take a unicorn.” He was tall, and his face was as soft and pleasant as a marshmallow.

  When they and their retinue were gone, the unicorn came out of the wood, followed by Molly and the magician, and took up her journey again. A long time later, wandering in another country where there were no streams and nothing green, Molly asked her why she had not gone to the princess’s song. Schmendrick drew near to listen to the answer, though he stayed on his side of the unicorn. He never walked on Molly’s side.

  The unicorn said, “That king’s daughter would never have run away to see my shadow. If I had shown myself, and she had known me, she would have been more frightened than if she had seen a dragon, for no one makes promises to a dragon. I remember that once it never mattered to me whether or not princesses meant what they sang. I went to them all and laid my head in their laps, and a few of them rode on my back, though most were afraid. But I have no time for them now, princesses or kitchenmaids. I have no time.”

  A matter of formality: lilac musk, sandalwood, sweet pea, watermelon accord, pale woods, elemi, and oakmoss.

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