Hinzelmann Perfume Oil $28.00

Hinzelmann Perfume Oil

$28.00

Where Hinzelmann had been standing stood a male child, no more than five years old. His hair was dark brown, and long. He was perfectly naked, save for a worn leather band around his neck. He was pierced with two swords, one of them going through his chest, the other entering at his shoulder, with the point coming out beneath the rib-cage. Blood flowed through the wounds without stopping and ran down the child’s body to pool and puddle on the floor. The swords looked unimaginably old.

The little boy stared up at Shadow with eyes that held only pain.

And Shadow thought to himself, of course. That’s as good a way as any other of making a tribal god. He did not have to be told. He knew.

You take a baby and you bring it up in the darkness, letting it see no one, touch no one, and you feed it well as the years pass, feed it better than any of the village’s other children, and then, five winters on, when the night is at its longest, you drag the terrified child out of its hut and into the circle of bonfires, and you pierce it with blades of iron and of bronze. Then you smoke the small body over charcoal fires until it is properly dried, and you wrap it in furs and carry it with you from encampment to encampment, deep in the Black Forest, sacrificing animals and children to it, making it the luck of the tribe. When, eventually, the thing falls apart from age, you place its fragile bones in a box, and you worship the box; until one day the bones are scattered and forgotten, and the tribes who worshipped the child-god of the box are long gone; and the child-god, the luck of the village, will be barely remembered, save as a ghost or a brownie: a kobold.

Shadow wondered which of the people who had come to northern Wisconsin 150 years ago, a woodcutter, perhaps, or a mapmaker, had crossed the Atlantic with Hinzelmann living in his head.

And then the bloody child was gone, and the blood, and there was only an old man with a fluff of white hair and a goblin smile, his sweater-sleeves still soaked from putting Shadow into the bath that had saved his life.

The luck of the tribe: black pine pitch and gouts of blood, darkness and bonfires that cast long shadows.

AG MAIN IMAGE FOR CATEGORYAMERICAN GODS
The paradigms were shifting. He could feel it. The old world, a world of infinite vastness and illimitable resources and future, was being confronted by something else—a web of energy, of opinions, of gulfs.

People believe, thought Shadow. It’s what people do. They believe. And then they will not take responsibility for their beliefs; they conjure things, and do not trust the conjurations. People populate the darkness; with ghosts, with gods, with electrons, with tales. People imagine, and people believe: and it is that belief, that rock-solid belief, that makes things happen.

The mountaintop was an arena; he saw that immediately. And on each side of the arena he could see them arrayed.

They were too big. Everything was too big in that place.

There were old gods in that place: gods with skins the brown of old mushrooms, the pink of chicken flesh, the yellow of autumn leaves. Some were crazy and some were sane. Shadow recognized the old gods. He’d met them already, or he’d met others like them. There were ifrits and piskies, giants and dwarfs. He saw the woman he had met in the darkened bedroom in Rhode Island, saw the writhing green snake-coils of her hair. He saw Mama-ji, from the carousel, and there was blood on her hands and a smile on her face. He knew them all.

He recognized the new ones, too.

Neil Gaiman is the winner of numerous literary honors and is the New York Times bestselling author of The Ocean at the End of the Lane, American Gods, Neverwhere, Stardust and Anansi Boys; the Sandman series of graphic novels; three short story collections and one book of essays, The View From the Cheap Seats.

Neil is the first author to win both the Carnegie Medal and the Newbery Medal for one work, The Graveyard Book. He also writes books for readers of all ages including the novels Fortunately, the Milk and Odd and the Frost Giants and picture books including The Sleeper and the Spindle and the Chu’s Day series. Neil’s most recent publication, Norse Mythology has topped bestseller lists worldwide.

Originally from England, he now lives in the USA. He is listed in the Dictionary of Literary Biography as one of the top ten living post-modern writers, and he says he owes it all to reading the Writers’ & Artists’ Yearbook as a young man.

This series based on Neil Gaiman’s American Gods, winner of the Hugo, Nebula, Locus, SFX Magazine and Bram Stoker Awards for Best Novel, and now a Starz television series.

Visit Neil’s official site, American Gods at Starz, and NeverWear.

This is a charitable, not-for-profit venture: proceeds from every single bottle go to the CBLDF, which works to preserve and protect the First Amendment rights of the comics community.

Original American Gods art by Hugo-winner Julie Dillon.

PERFUME OIL BLENDS
Presented in an amber apothecary glass vial.
Because of the nature of this project, imps are not available for any American Gods scents.

Reviews

  1. AEShindler

    This is a very nice masculine scent. It has a strong smell of pine and other woods, and below that a subtle scent of bonfire smoke. Due to the pine pitch it has a little bit of sweetness at the end. I have been to the Black Forest in Germany and this reminds me of that visit. Over all a very good perfume.

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