I was planning on posting this up as the culmination of 31 Days of Horror as I did last year, but…
1. I finished these reviews last night, and I am impatient. If something is done, the temptation to share it is too great not to do it immediately! ‘
And 2. holding off until Halloween isn’t helpful for those who are looking to place orders before Halloween and may need a bit of help in the way of a review that tells them something, while… if not useful or helpful (I don’t kid myself about the kind of “reviews” that I write) at least…illuminating? Insightful?
Moroccan Pumpkin (pumpkin spices wind through a blend of warm musk, carnation, red sandalwood and cassia) Immensely slatherable, an oozing study in autumnal comfort, heavy and sweet on the skin. The pumpkin note is rich and velvety, with a buttery smoothness that goes beyond coating the back of a spoon…I think the spoon would stand straight up in this if it were an actual edible thing! Spices add depth and complexity – warm cinnamon and golden, resinous amber – their heat tempered by the syrupy sweetness of brown sugar crystals seemingly dissolving into the blend. There’s a thickness to this scent, almost tactile in its presence, like the last spoonful of preserves clinging to the jar. It’s a scent that embodies the season’s most indulgent desserts – think slices of custardy pumpkin pie topped with dollops of whipped cream, warm cinnamon rolls dripping with gooey icing, and sticky toffee pudding saturated with a rich maple butterscotch sauce.
Darling, Darling (sugared pear and wild violets with orris butter, coconut milk, white musk, and vanilla silk) opens with a creamy, candied tartness that swoons into a misty moody, melancholic violet – a fevered vision nestled in the heart of a midnight reverie. This is a sugar-frosted bloom with a nocturnal appetite – powdery yet sharp, a strange, romantic sweetness on which one feeds exclusively and voraciously. A velvety richness mingles with a subtle lactonic note, providing a silky backdrop that amplifies the scent’s confectionery nature. A diaphanous veil of clean musk intertwines with gossamer-light vanilla, forming an ethereal shroud of tender menace clinging to trembling skin. TLDR; this smells like the tender caresses of a succubus who is feeding you a handful of Smarties.
Dead Leaves, Incense Smoke & Oud Imagine you are Mazzy Star circa 1993, but you are also slowly being consumed by the trees. Damp, earthy autumn leaves whisper songs of decay, a slow plume of incense smoke hangs low on the breeze, and the sun drops below the bloody, burning horizon. Rich woody darkness, a tree’s shadowy heart, and you, a pile of dust, an endlessly fading chord.
Dead Leaves, Black Tea & Bergamot The earthy, euphoric scent of autumn rises from a carpet of fallen leaves, their colors a blanket of umber and gold spread beneath rusted wrought-iron gates. Wisps of aromatic steam curl from an abandoned mug on a weathered stone bench, mingling with the garden’s fading sighs. At twilight, a crisp breeze rattles the trees, carrying a jolly, vegetal brightness that disperses the melancholy haze like a peal of laughter at an unexpectedly inappropriate joke! A moment, a reflective pause between seasons, rich with the comforting warmth of autumn and the lingering mischief of the departing summer, the last chirp of a cricket giving way to the first croak of an autumn toad.
The Bell Witch(rusted iron, mandrake root, burnt vetiver, and patchouli leaves) What is it about the human heart that loves a place forsaken? This is a quote from a book I read recently, so I can’t take credit for it, but it is super appropriate for this perfume. In a forgotten corner of an abandoned homestead, weathered tools rest against crumbling walls, once-gleaming surfaces now a canvas of rust and patina, shadows pool in the pitted surface of an old axe head. From between warped floorboards, gnarled tendrils reach upward, twisted and pale, insistently seeking. A tenebrous botanical scent rises with them, vegetal and searching. It mingles with the musty air, a complex perfume of damp wood, old leather, and the faint memory of smoke. Dust hangs suspended in slanted beams of light; each mote a silent witness to creeping decay and desolation.
Single Note: Black Lipstick (waxy drugstore lipstick and clove cig residue) Velvety pigments and wine-darkened lips, inky midnight fruits, rich, jammy, plummy, plush malaise-as-a-lifestyle-choice kisses.
Pumpkin Spice Halo-Halo(ube halaya and ube ice cream chonked with mango jelly, flan, boiled taro, evaporated milk, sweetened kidney beans, dried coconut, kaong, gulaman, tapioca pearls, and a copious shake of pumpkin spice) This is a very creamy blend, but also very …earthy? Velvety ribbons of milky jam weave through wobbling mounds of coconut custard. Lumpy dollops of an almost figgy milk jelly jostle jiggingly aside pillowy palm sugar flan. But there is also the starchy nectar of sweet rice, beans boiled in fruit syrup, and the subterranean, geosmic sweetness of mashed tubers. This fragrance has all of those things…plus a tiny spoonful of salty, nutty, browned butter.
Pumpkin Musk & Black Oud Pureed gourd flesh and nutty, toasted grains steep in dusky, caramelized sweetness. A slice of pumpkin bread devoured at a forsaken crossroads, where a witching-hour deal is yet to be struck.
The Fading Crimson of the Sky (bergamot shuddering through lime leaves, ruby-tinged amber sunlight, violet leaf, oak bark, and sandalwood smoke) An unsettling missive scrawled in smoke; the honeyed light and amber glow of a strangely flickering twilight; a slice of citrus wrapped in lace, pale jade juice seeping into the threads. The pearlescent moon rises, and violet-tinged shadows writhe over a hushed glade.
Dry Ice Cocktail(a sparkling absinthe martini swirled with a glow stick and overflowing with cascades of dry ice fog) A spectral chill in frosted glass; anise and verbena spark with eerie luminescence. Icy tendrils spill over the rim, a fog that bites at curious fingers. The elixir shimmers with cold vapor suspended between tipple and mist – green herbal shivers and sharp, aromatic secrets swirling in misty limbo.
The Autumn People (hay-dusted oak, honey mead, pumpkin rind, vetiver root, corn husk, and maple leaves) An unexpected autumnal breeze; crisp leaves carry secrets of golden fields. Honey-tinged sunlight clings to weathered bark, earthy roots anchor fleeting warmth. Tattered pumpkin rind scrapings compost with the sweet decay of fallen foliage. Deceptively fresh, almost cheerful, yet a ghostly chorus lingers in wind-stirred branches – a chill, whistling echo of summer’s fading warmth.
The Ruins of Karnstein (the rich, earthy depth of oud, vetiver, and moss, grounded in the untamed wilds of the forest, echoing the ancient stones that remain) Monstrous vegetation breathes a verdant miasma, its exhalations heavy with the weight of countless eons. In the same space, the same breath, the other eye observes a study in boreal archaeology: a drift of dead branches, ancient pine cones, desiccated moss. Tendrils of primordial green intertwine with crumbling stone, suspended in time. Undergrowth, thicket, and canopy exude a vast murky viridescence, revealing a mirror world where forest and ruin reflect endlessly, an unsettling symmetry of growth and decay.
Traditional Sheet Ghost A farmers market fruit basket tumbles into the washing machine, emerges an olfactory apparition. High-thread-count luxury cotton sheets, spin cycle séance, rustling with tales of anemic fruits transfused with linen-fresh detergent. Bedclothes drift through air heavy with warm humidity and the powdery tang of fabric softener, an olfactory bedtime story of fruits gently haunting your freshly laundered linens.
Datura Blossom This impression of chlorinated florals, aquatic honey, and a slight mineral effervescence is not at all what I expected… although I think this is going to be a summertime favorite! . This is a midsummer fever dream, foamed with flowers, pearled with light. Narcotic petals lounging poolside: honey-sweet poisonous blooms take a dip in cerulean waters at high noon in mid-July, and they’re floating on neon pool noodles and drinking slightly flat but icy-cold Topo Chico. For those who appreciate such things, this one reminds me a bit of the long-discontinued Danube.
Hollow Hallow (a suffocating pumpkin kyphi soaked in dark red wine and darkened by vetiver, opoponax, and black oud) The pores of the earth yawn open, exuding an inky miasma perfumed with earthy autumnal spices and sweet brown sugar musk. This glazed, glistening cascade of aromatic sap gleams under a harvest moon, a glossy pool of honeyed incense golden and thick, an aromatic oil slick of resinous depth and syrupy darkness. From the viscous depths, a pumpkin-headed silhouette emerges, its hollow eyes glowing with ancient malice—an old god awakening to reclaim its hallowed home.
The Great and Titled Dead (the haunted stillness of a long-decayed cemetery plot choked by ivy and wild blackberry thorns) Did I hear a blackberry giggle? And why did it sound so chilling, soulless, and evil? A chorus of tiny, wicked voices rises from the brambles, their sweet menace carried on a gentle breeze. The scent drifts lightly, deceptively airy, its delicate touch belying the weight of ancient malice it carries.
Tropical Print Sheet Ghost (cascades of banana Leaf, bamboo fiber, mango, papaya, and hibiscus, streaked with ectoplasm and sticky tears of strelitzia sap) I always list the notes with these reviews because sometimes I forget myself and get lost in impressions or dreams or memories or go off on labyrinthine tangents that stray very far from perfumereviewlandia. In this case, it is helpful to share the perfumer’s notes because I am going to list a very different set of smeller’s notes: honeydew, rhubarb, & honeysuckle preserves, a translucent shiver of ginger leaf, a rosebud preening, its reflection glassy and cool in a pool of clear rainwater. Fresh, clear nectar, lush and swirling in a prismatic jelly jar, balancing on a small tray carved of young, green wood.
Pumpkin Latte (espresso, pumpkin syrup, smoky vanilla bean, milk, raw sugar, and a dash of cinnamon and nutmeg) I don’t know how I’ve been reviewing these Halloween scents for so long, and yet I have never talked about this one. Perhaps it’s because it’s been lurking in the shadows, biding its time, waiting for the perfect moment to reveal its true nature. And that nature? It’s not what you’d expect. The coffee is strong and smoky, a dark roast rebellion against the expected sweetness. This is not the sticky-sweet pumpkin syrup bomb of your coffee-chain drive-thru order with your name spelled ridiculously wrong (ugh, poor “Keighleigh”). Instead, imagine a barista witch concocting a potion of bitter mysteries and autumnal secrets in a cauldron of burnished copper. Vanilla bean smoke curls around the edges, more felt than tasted, while cinnamon and nutmeg whisper spicy nothings from the shadows. A ribbon of milk weaves through it all, not to soften but to complicate – binding the realms of wake and sleep, summer’s fading warmth, and winter’s approaching chill. Raw sugar lingers as an afterthought, crunching softly like leaves underfoot or the last grains of sand in October’s hourglass. This is a PSL for those who find comfort in decay and seek beauty in the turn of seasons – a not-too-sweet (ultimate compliment) toast to endings that taste like new beginnings, the best, most perfect, most WEENDERFUL TIME OF THE YEAR.
Need more ‘Weenies? Have a peep at my ‘Weenie reviews from the autumns of yesteryear 2023 // 2022 // 2021 // 2020 // 2019 // 2018 // 2017 // 2016
And PSSSST! Did you know I have collected all of my BPAL reviews into one spot? Here you will find 88 pages of my thoughts and rambles on various limited-edition scents from Black Phoenix Alchemy Lab over the years: BPAL REVIEWS BY S. ELIZABETH (PDF download)
Are you new to one of our very favorite indie perfumers, Black Phoenix Alchemy Lab? See my three-part primer here, here, and here.
If you enjoy posts like these or if you have ever enjoyed or been inspired by something I have written, and you would like to support this blog, consider buying the author a coffee?
Every October, there’s at least one or two evenings where the occasion of a “family movie” is called for. Yvan has two brothers, and both of their birthdays occur over the course of this month. This means that one of them flies in from out of state (the other already lives nearby), and now the whole family is together, and there are multiple dinners and lots of socializing and endless rounds of Olsen Olsen, usually a very tame movie or two …and very little time for me to watch and write about something scary.
This year, the time is especially important because their mother—my mother-in-law—isn’t doing very well health-wise. She was diagnosed with ALS, and she has been rapidly declining in the last six months or so, and of course everyone wants to spend as much time with her, and together as a family, as possible. My own family was never as close as this one is. In one month, I have more family dinners with these people than I have ever had in my entire adult life with my family.
This is not to say that my sisters and I aren’t close. We love each other dearly. But even when my mother and grandparents were still alive, we never really did these things as a family, other than, say, once a year at Thanksgiving. Whereas with Yvan’s family, for the past three years now, we have twice-weekly family dinners. (I do think this is a little excessive, but I keep my mouth shut.)
Much of that is due to the influence of my mother-in-law, who works tirelessly to keep everyone close. She is a very special lady. She accepted me immediately into the family when I first met her twelve years ago and never said anything about my shyness or weirdness or piercings or tattoos or changing hair colors. As a matter of fact, when I mentioned over a fish dinner a few years ago that I was thinking of blue hair, she very seriously considered it for a second and said, “Hmmm…maybe I should do that too!”
This is the woman who, when my first book was published at the height of the pandemic, staged a little book signing for me in her backyard with various family members so I could have “the whole experience!” And all of this is expressed with a gentle, lullaby-inflected Icelandic accent, which always makes conversations with her take on a dreamy, storybook feel. We’re losing her bit by bit, and these conversations are all but impossible now.
But we all got together for hamburgers and Beetlejuice Beetlejuice this weekend. She sat next to me on the couch, and we laughed and cringed because it was funny and gross, and everyone had a good time, and I am glad.
The movie hasn’t been out for a long time, so I won’t get into it over much because I don’t want to spoil anything for anyone. I’ll just say it was a lot of fun, and a lot better than I expected, and that it’s always interesting revisiting future versions of these characters and stories from your formative years; perspectives and priorities are so different these many years later, and things like plot, for example (at least for me) become second fiddle to things like relationships.
I think I was mainly tuning in to see Lydia’s interactions with her stepmother thirty-six years after the original film. And I was not disappointed. You know what else did not disappoint? THE FASHUN. Which I think I can share loads of without giving any of the story away!
Day Fourteen of 31 Days Of Horror in years past: 2023 // 2022 // 2021
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Were you the kid who sat on the floor next to a grimy, dusty corner of a vending machine to eat lunch alone? I was. I was reminded of this in some of the opening scenes of I Saw The TV Glow. A part of me wishes that I’d had a kindred weirdo to connect with. But…not like this.
I Saw the TV Glow unfolds as a tale of two outsiders, Owen and Maddy, bond via their shared obsession with a mysterious TV show called “The Pink Opaque”. Set against the backdrop of a nondescript suburban town in the late ’90s, the film follows Owen from his introduction to the show as a shy seventh-grader through to his unfulfilling adulthood.
The Pink Opaque, a Buffy-esque series about two psychically linked girls battling supernatural forces, becomes more than just entertainment for Owen and Maddy – it’s a lifeline. When Maddy suddenly vanishes, leaving only a burning TV behind, Owen is left adrift. Years pass, and he finds himself trapped in a dreary existence, unable to move on or fully embrace who he is. The film weaves between Owen’s memories, the eerie world of The Pink Opaque, and his present-day struggles, building towards a confrontation with the truths he’s long avoided about himself and the inexplicable events of his youth.
I’m not quite sure what to think of I Saw the TV Glow, and yet even so, this strange, sad tale of outcasts searching for belonging and identity has burrowed its way into my thoughts. And sad it was. Relentlessly sad. Owen and Maddy’s journey, so intertwined with The Pink Opaque, speaks to the pain of not truly knowing yourself yet being acutely aware that the version of you the world sees isn’t authentic. Their diverging paths – one fading into an uncertain void, the other slowly suffocating in suburban purgatory – leave a hollow ache in my chest, with its heart that already carries an inexplicable emptiness all its own.
I found myself entranced by the moody soundtrack, which, according to an NPR article, was curated with a great deal of care. Featuring original songs from indie artists, the music captures what the article describes as “teenage malaise and … a ‘Ph.D. interpretation of goth.'” It perfectly complements the film’s themes of alienation, longing, and despair. Also, I want a perfume that smells like how King Woman’s brutal, howling “Psychic Wound” performance in this movie makes me feel.
Day Thirteen of 31 Days Of Horror in years past: 2023 // 2022 // 2021
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I started watching Evil over the summer, but as I am still watching it—in fact, I watched an episode last night—I think it totally counts toward my October viewing.
Everyone in the world already knows all about this show but me, so I feel like an asshole offering a synopsis of it, but just in case you haven’t seen it yet...Evil is a psychological mystery series that explores the boundary between science and the supernatural and follows an unusual investigative team: a skeptical forensic psychologist, a Catholic seminarian, and a tech expert. They work together to examine the Church’s backlog of unexplained phenomena.
What’s both interesting and frustrating is its refusal to give easy answers – each case could be demonic activity or just humans being terrible in creative ways. That’s one of the things I enjoyed about the X-Files, too, I suppose, and I think maybe what I like most about Evil is that it scratches that X-Filesian itch for me.
Evil revolves around three distinct characters whose perspectives shape the series. David Acosta (Luke Cage!), a Catholic seminarian, brings unwavering spiritual conviction to their investigations. His strong faith often serves as a counterpoint to his teammates’ skepticism, though he grapples with personal challenges unrelated to their cases. Ben Shakir, a technology specialist, approaches each situation with sharp skepticism, using his technical know-how to seek rational explanations for seemingly supernatural events.
Then there’s Kristen Bouchard: a forensic psychologist, mother of four, and, improbably, a renowned mountain climber. This combination of roles stretches believability to its limits. One can’t help but question how she excels in such demanding and disparate areas of life. Yet, it’s Kristen’s complex nature and her struggle to reconcile her skepticism with increasingly bizarre experiences that form the show’s backbone.
The show’s handling of Kristen Bouchard’s character troubles me. As an attractive, privileged white woman, Kristen literally gets away with murder when her police friend looks the other way. It’s a stark reminder of real-world disparities in justice, as it’s hard to imagine the two other members of her team receiving similar treatment. If it sounds like maybe I don’t love Kristen, well. That would be true.
Beyond our main three, there’s a whole cast of characters that keep things interesting. When we meet Kristen’s mother, Sheryl, she seems like a relatively normal grandmother, albeit one who dresses like a biker bar regular or an 80s metal enthusiast. As the series progresses, Sheryl’s role becomes increasingly unpredictable and intriguing. At this point, I literally have no idea what is going on with Sheryl; she’s getting into some weird shit, and I wonder how “normal” she ever was in the first place! Leland Townsend (Ben from Lost!) is a professional rival turned nemesis and brings a deliciously sinister energy to every scene he’s in.
Dr. Kurt Boggs, Kristen’s therapist, provides a perfect blend of insight and dry humor, and watching his life get weirder with each episode is a treat. Sister Andrea, a sharp-witted, no-nonsense nun with a knack for sensing the supernatural, serves as David’s mentor and ally, offering spiritual wisdom and practical advice in equal measure. And finally, Kristen’s daughters. I’ll be honest: Kristen’s four daughters are A LOT. I could do without them.
One of my favorite things about the show is its seemingly endless autumn or winter setting: characters are almost always bundled up in coats and scarves, their breath visible in the chilly air, while bare trees and gloomy skies create a perpetual atmosphere of unease that perfectly complements the eerie cases the team investigates.
There are possessions, exorcisms, creepy dolls, creepy kids, UFOs, angels, demons, evil influencers, evil VR goggles, evil cops, evil fertility clinics, and …the Elevator Game. A lot of it is awfully goofy. But the show also has a lot of heart, so there’s a good balance, tackling serious existential questions alongside more outlandish plot points. This blend of tones creates an engaging if sometimes bewildering, viewing experience. But…in the best way?
I’ve found myself posting about some of the more perplexing scenes on Facebook…
From August 23: “I am watching Evil on Netflix, and I find it easier to believe that countless exorcisms are happening constantly throughout the New York City area than to believe that the canned margaritas Kristen Bouchard drinks every time she is on screen are any good.”
From September 18: “I am still watching Evil, and I do not even KNOW what is going on with Sheryl. But she and this Edward guy are leisurely boogieing outside Leland’s apartment, singing Foux du Fafa “
I was hoping they might get to this part of the song, but alas… “Ah, Gérard Depardieu Baguette, hon hon hon”
Day Twelve of 31 Days Of Horror in years past: 2023 // 2022 // 2021
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No movie-watching in the last day or so. Hurricane concerns and issues, pre-and-post, didn’t leave time for it. Luckily, the storm had mostly fizzled by the time it reached us, but it’s always an anxious, paralyzing time in the day/hours leading up to these things, and my anxiety didn’t leave room for anything else! The day after was spent in clean-up mode. There was no damage to the our house or property, but the wind knocked a lot of tree limbs and branches around, so yesterday afternoon I cleaned a lot of that up, and after all that, I needed an early bedtime.
So instead, here’s a little list of miscellaneous stuff: a few articles, some recipes, spooky tunes, creepy stories, a collection of upcoming horror films, and a few lists of horror novels, both for those who like to keep up with the newest releases and those who are getting started in the genre and need a place to begin (although I’m pretty sure most folks reading this blog are well beyond horror 101, you never know!)
Day Eleven of 31 Days Of Horror in years past: 2023 // 2022 // 2021
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Jack described it thusly: “Straddling the line between Gothic horror and folk horror, Dark Waters is a dream-like film that should appeal to viewers who have room in their hearts for both H. P. Lovecraft’s “The Shadow Over Innsmouth” and Mattew Lewis’s The Monk. Elizabeth (played by Louise Salter) arrives at a convent on an isolated island during a tempest; she is assigned Sarah (Venera Simmons), a young novice, to be her guide. The two women delve into the forbidden mysteries of the convent’s library, the secrets in the convent’s catacombs, and even Elizabeth’s own tainted familial history.”
I’m not sure what else there is to add! It’s an ominous, moody story and extraordinarily… damp. Everything is wet, slick, and dripping, even with tens of thousands of candles lit, and there are at least that many over the course of the film in the convent, caves, and catacombs.
This is a dark, disturbing, dreamy film that doesn’t make a lot of sense—who knows if some of the scenes are hallucinations, memories, nightmares, or perhaps portents of things to come. But while the plot may at times be cryptic, the visceral imagery—from candlelit rituals and eldritch rites to murderous cave paintings to blood-stained religious icons—seeps into your subconscious. The oppressive, haunting atmosphere is off the charts, and the set design is incredible, so if you are here for the vibes, this one might be worth seeking out. (I found it on Tubi, and it’s free with ads.)
In lieu of a nuanced take (good grief, I hope you don’t come here for nuanced takes; joke’s on you!), here’s a bunch of screenshots. This is why it takes me four hours to watch a 90-minute movie.
Day Ten of 31 Days Of Horror in years past: 2023 // 2022 // 2021
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To be honest, I am not sure why I watched this one. I guess it’s been on my list since last year, and I must have put it there for a reason—though I sure couldn’t tell you what that reason was.
Rose Cotter is a psychiatrist whose professional life takes a harrowing turn when a new patient, Laura, arrives at her hospital in a state of abject terror. Laura’s frantic description of an entity that manifests as people with unsettling smiles sets the stage for a series of increasingly disturbing events, culminating in her violent suicide right before Rose’s eyes.
In the aftermath of this traumatic incident, Rose finds herself plagued by inexplicable visions mirroring Laura’s experiences. As these apparitions grow in both frequency and intensity, Rose’s grip on reality begins to slip, compelling her to seek answers to the terrifying phenomena she’s witnessing.
Turning to her ex-boyfriend Joel, a police detective, Rose embarks on an investigation that uncovers a disturbing pattern of similar occurrences. Their findings reveal a nightmarish chain of events where the smiling entity seems to transfer from one victim to the next, always targeting those who have borne witness to the previous victim’s demise.
As Rose continues to unravel the truth, the boundaries between her past traumas and her present reality blur. The entity manifests more frequently, often taking on the visage of familiar faces. This freaky, escalating terror is powerfully illustrated during a tense birthday party scene, where the once-celebratory atmosphere becomes a backdrop for Rose’s growing paranoia and the entity’s insidious presence.
Rose’s quest for understanding leads her to a prison, where she interviews a survivor of the entity’s torment, delving deeper into the heart of the mystery. The information gleaned from this encounter propels Rose towards a climactic confrontation with the entity, forcing her to face her deepest fears in a final, desperate attempt to break the cycle of terror.
I’m still trying to decide if the treatment of trauma and mental illness felt gross and messy or actually nuanced kinda nuanced or what, and I don’t even know what I thought about those scenes that took place in the old, abandoned house. Even after writing this, I’m unsure of why I wanted to watch it in the first place or where it falls in my rankings of these things. It feels a little unrankable, actually. I don’t know if I would ever recommend this, but at the same time, I am not sorry I watched it. I am probably not going to share this on social media. I hate the promotional materials and posters for the film; it’s not that they’re unsettling or scary…I just find them not very aesthetically pleasing, I guess? I’m not critiquing the appearance of the person in it, just overall…I hate it?
Day Nine of 31 Days Of Horror in years past: 2023 // 2022 // 2021
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This was the copy I had for years before the tattered cover fell off. It has since been rebound.
I recently had the pleasure of appearing on the Paperback Perfumes podcast, where I was given an intriguing challenge: to pair a book with a perfume. My choice? Daphne du Maurier’s timeless classic, Rebecca. In the promotional materials, Claire used an older portrait of me, several hair colors ago. In it, my head thrown back, I am cackling into the void. That photo is so ridiculous, and I love it so much.
Anyway. Rebecca. As I revisited this beloved novel for what must be the dozenth time, I approached it with a new perspective – one focused entirely on the sensory experience, particularly scent. What struck me most was the sheer abundance of olfactory references throughout the book. Du Maurier’s prose is rich with descriptions of smells, from the natural world of Manderley to the more subtle, character-driven scents that permeate the story.
Curious about my chosen fragrance pairing? You’ll have to listen to the Paperback Perfumes podcast to find out! But in the meantime, I’ve compiled a comprehensive list of every scent reference I could find in the story. It’s a fascinating journey through the novel’s sensory landscape, one that adds depth to an already multilayered narrative.
Rebecca rebound by McCall Co. Bindery & Book Arts (photo: Nate McCall)
Below, you’ll find my catalog of scents from “Rebecca,” organized by category. As you read through, consider: what fragrance would you pair with this gothic masterpiece?
Nature and growth:
“Nature had come into her own again”
“Monster shrubs and plants”
“This jungle growth”
“Choked wilderness”
“Unnatural growth of a vast shrub”
“Garden had obeyed the jungle law”
Earth and moss:
“The smell of wet earth”
“Sour tang of moorland peat”
“Feel of soggy moss”
“Dank rich moss beneath our feet”
Water and sea:
“Rain and the lapping of water”
“Mists of autumn and the smell of the flood tide”
“Murmur of the sea below me, low and sullen”
“Smell of damp salt and seaweed”
Flowers and plants:
“Daffodils… stirring in the evening breeze”
“Crocuses… golden, pink, and mauve”
“Primrose… vulgar, a homely pleasant creature”
“Bluebells… smoky, rather bitter smell, as though a wild sap ran in their stalks, pungent and juicy”
“Great branches of lilac… filled the house with a wistful, poignant smell”
“Azaleas and rhododendrons… The air was full of their scent, sweet and heady”
“Magnolia scent… faint, soft”
“Sweet lilac in the vase… mauve warm scent filling the room”
“Hydrangeas… somber… funereal”
Food and drink:
“Dripping crumpets… Tiny crisp wedges of toast, and piping-hot, floury scones”
“Sandwiches of unknown nature, mysteriously flavored”
“Angel cake, that melted in the mouth”
“Marmalade, and coffee, and that tangerine”
Indoor spaces:
“Old quiet smell about the room”
“Ancient mossy smell, the smell of a silent church”
“Queer musty smell”
“Wardrobe smelt stuffy, queer”
Seasonal changes:
“Smell in the air of mist and damp, the smell that comes with the first fall of the leaf”
“Rain smelt of moss and earth and of the black bark of trees”
Specific Rebecca-related notes:
“Vanished scent upon the handkerchief… same as the crushed white petals of the azaleas”
“Azalea scent… turned stale inside the wardrobe, tarnishing the silver dresses”
Miscellaneous sensory descriptions:
“Manderley stood out like an enchanted house, every window aflame”
“I knew the scent she wore, I could guess her laughter”
“Smell of mud and rust, and that dark weed that grows deep beneath the sea”
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Polybius by Colin Armstrong is a horror novel that plunges readers into a nightmare unfolding in a small coastal town in 1982. At the story’s center is Andi, a smart, tech-savvy teenager working at the local arcade/movie rental place, where the trouble begins with the arrival of a mysterious new arcade game. This game quickly becomes an obsession for the townspeople, young and old, players and nonplayers alike, triggering a series of disturbing events. As the victims start experiencing severe mood swings, paranoia, and hallucinations, Andi finds herself drawn into investigating the game’s sinister origins. The situation takes a dire turn when a violent coastal storm cuts the town off from the outside world, coinciding with a surge in aggressive behavior among the residents. Alongside her friend Ro, the sheriff’s son, Andi races to uncover the connection between the game and the town’s descent into chaos, all while grappling with her own desire to escape Tasker Bay.
Armstrong’s writing style immediately reminded me of the horror novels I devoured in my younger years. It’s action-packed and straight to the point, not trying to romance us with flowery language and linguistic frills. Polybius is quite different from the “literary horror” that’s become popular (I don’t want to say “lately”…I can’t pinpoint when we started referring to it that way.) But there’s been a lot of talk about horror with lush, beautiful prose and supposedly elevated concepts, but Armstrong’s novel isn’t trying to be that. The writing is straightforward and focused on propelling the story forward rather than waxing poetic. It gets you from point A to point B efficiently, even if you won’t swoon over the writing. I am not trying to say one is better than the other, I am not trying to be a judgemental contrarian edgelord! Just…managing expectations, I guess?
I will say though, that I wanted more from the urban legend aspect of the story; I honestly didn’t come away from the book with any sense of urban legendry at all, and only remembered it was supposedly meant to be an aspect of the story as I was reading reviews about it, so I definitely feel like there was potential for deeper exploration there. On the other hand, the government conspiracy angle didn’t really grab me, and I found those parts a bit boring.
The marketing compares this to The Walking Dead or Stranger Things, but I’d say it has more in common with the Crossed comics (not THAT bad, though) or CJ Leede’s American Rapture. The rapid spread of the contagion, the extreme violence and aggression of those affected, and the overall bleakness of the situation really reminded me of those works.
For readers who appreciate horror that prioritizes visceral thrills over introspection, “Polybius” capably scratches that itch. It’s not going to win any literary awards, but I am not sure that’s why we are reading horror in the first place, is it?
Polybius by Colin Armstrong is due out on April 29, 2025. NetGalley provided this digital review copy.
The next two books are more in the vein of the more literary-type horror that I mentioned above. And although the two stories are completely different and told in very different voices, interestingly enough, they have a fair bit in common. Another for the list of literary synchronicities! Unlike Polybius, these are both recently published, and you should be able to find copies easily.
A bit of a trigger warning for Private Rites. If you are someone who has recently been affected by weather and water…you might want to skip this one for now.
Private Rites is one of those books that didn’t always keep my attention…until all of a sudden, it did. Julia Armfield’s writing is so unlike any author in my memory, with a lush intelligence that’s hard to articulate. It feels scientific and philosophical, distilled into lyrical, emotive prose without being overly fraught. Set in a drowning world, the story follows three sisters dealing with their emotionally distant father’s recent death. Irene’s relationship is straining at the seams, Isla is grappling with her own personal complications, and the cynical Agnes is falling in love for the first time. As they sort through their father’s legacy in his famous glass house, their fragile bond is tested by revelations in his will and a mysterious purpose they’ve been chosen for. Armfield’s unique voice and the gradual unfolding of the sisters’ stories eventually drew me in. Private Rites is an atmospheric read with its beautifully distinctive prose, tumultuous family dynamics, and the nerve-wracking enigma of its watery apocalypse.
Rivers Solomon’s Model Home is an unrelentingly haunting tale centered on the Maxwell siblings – Ezri, Eve, and Emmanuelle. Their childhood in a gated community outside Dallas, where they were the only Black family, was marred by strange and terrifying events in their home at 677 Acacia Drive. This traumatic past has kept them at a distance from both the house and their parents in adulthood. The siblings’ forced return home following their parents’ mysterious deaths sets the stage for a confrontation with their history. As they delve into family secrets and attempt to unravel the truth behind the house’s disturbing occurrences, Solomon crafts an atmosphere of intense unease and palpable dread.
I already love reading about the complex dynamics between the siblings, and Solomon’s portrayal of the family kept me invested throughout. I found myself particularly drawn to Ezri’s perspective, though it was often a difficult and heartbreaking place to be. Spending time in Ezri’s head was truly horrifying at times, as their trauma and struggles were so vividly portrayed. Model Home was not anything like I expected, and Solomon doesn’t pull any punches when it comes to dark themes and disturbing scenes. It’s a brutal read, and there is no doubt about it. But I could not put it down, even when it made me uncomfortable. If you’re up for an intense, unsettling read, this book offers a bold, unconventional take on the haunted house story.
Finally, the twisted tale of Victorian Psychoby Virginia Feito introduces Winifred Notty, a governess who arrives at dreary Ensor House, where in three months’ time, she informs us that everyone living there will all be dead. Winifred is tasked with educating the Pounds children in subjects ranging from English and French to ornamental needlework, and in the course of their lessons and bedtimes, we learn that while outwardly embodying Victorian propriety, Winifred’s carefully constructed persona belies a chillingly dark imagination and inner world. As she becomes further entrenched in the estate’s oppressive atmosphere and uncovers the Pounds family’s peculiar proclivities, Winifred finds it increasingly challenging to maintain her façade. If you relished Maeve Fly’s violently irreverent antihero and unhinged plot, you’ll find Winifred Notty’s distorted and uniquely vicious mind equally captivating in this eerie, blunt, and grotesquely humorous masterpiece. Warning to sensitive readers: maybe don’t. Victorian Psycho by Virginia Feito is due out on February 4, 2025. NetGalley provided this digital review copy.
Day Eight of 31 Days Of Horror in years past: 2023 // 2022 // 2021
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Abigail (2024) is a film that I have been dying to see for what feels like over a year now, but I have been waiting for it to show up on a streaming service that didn’t require any extra money from me. As of yesterday, I gave up. I could wait no longer!
It starts as a crime heist kidnapping movie that gets hijacked by a monster movie. The narrative opens with a meticulously orchestrated abduction: a cadre of criminals extract young Abigail from her ballet recital, whisking her away to a secluded estate that may well be her own domicile. They’re all going by fake names, but we know the leader is actually Matthew Crawley and the guy who hired him is Gus Fring of Los Pollos Hermanos! Anyway, what begins as a calculated ransom scheme rapidly devolves into a nightmarish ordeal, as the captors find themselves ensnared in a situation far beyond their comprehension or control when they realize that the tiny dancer is a vengeful vampire.
So far, I have told you nothing that you haven’t already seen in the trailer, and I don’t think I will reveal much more than that. What I will do, however, is tell a story via my favorite screencaps.
Here we have the soon departed Dean (also RIP Angus McCloud) investigating some noises in a subterranean basement kitchen, a sort of haunted Williams Sonoma advert, that inexplicably has a bowl of fresh fruit on the table and an industrial bread mixer on the floor. What a strange culinary twilight zone. Maybe vampires are really into sourdough?
Abigail’s transformation is stark and unsettling. Her ballet costume is drenched in crimson, her face is a canvas of gore, and her eyes remain hauntingly beautiful. But it’s her grin that is awesomely unnerving—rows of fanged teeth gleaming, a predator’s smile ripping across a child’s face. Ethereal and monstrous. Am I terrified of her? Undoubtedly. Do I love her? ABSOLUTELY.
A marble sentinel stands frozen in the attic, nature reclaiming art in the most unlikely of places. Our intrepid criminals stumble upon this ghostly gallery, only to find their colleague has joined the undead ranks. She attacks with newfound fangs and superhuman strength, but I can’t help being distracted by these statues. Who curates a sculpture garden in their attic?
Abigail’s choice of footwear is a dazzling spectacle amidst the carnage. Encrusted with silver glitter that catches the light with every movement and emblazoned with charming pink stars, they’re such a whimsical witness to the dark deeds of the evening. Ballet shoes might be elegant, but they’re hardly ideal for the messy work of hunting down your kidnappers and draining them of their delicious blood. Our girl Abigail knows that when it comes to a proper rampage, traction is key. It’s nice to see a monster with both a sense of style and sensible shoes. Who says you can’t be cute while terrorizing your captors?
Ok, I actually have no notes on this one. Perfection.
What I truly appreciated about Abigail is its refreshing approach to the vampire reveal. Unlike countless other films where characters spend precious screen time in denial, this gang swiftly accepts the bloodsucking reality they’re facing. There’s no tedious dithering or drawn-out disbelief – they see a vampire, they believe in vampires. It’s as simple as that.
This approach felt wonderfully respectful of the audience. Let’s face it, we all knew Abigail was a vampire from the trailer. The directors acknowledged this and aligned the characters’ knowledge with ours, cutting straight to the chase. It’s as if they said, “We know you know, and now the characters know too, so let’s get to the good stuff.” By skipping the usual skepticism and existential crises, Abigail cuts out all the fluff and dives headlong into the action–and I adored every crazy, gruesome minute of it.
Day Seven of 31 Days Of Horror in years past: 2023 // 2022 // 2021
If you enjoy posts like these or if you have ever enjoyed or been inspired by something I have written, and you would like to support this blog, consider buying the author a coffee?
