After The Rain is a misty watercolor painting of a fragrance, conjuring romantic visions of an elegant lady of the manor looking up from her ledgers to wistfully gaze out at her garden on a cool, rainy morning in early spring. Delicate, purple florals, restrained greenery, and the ghostly tracing of rainwater on a chilled glass windowpane. I wouldn’t quite call this an aquatic, but I hesitate to call to call it a floral. Can we pretend that there is a category of fragrance called “haunting breeze?”

Banded Sea Snake, while an aquatic scent, is no watery, limpid affair. And frankly, it’s less a scent and more an image that is conjured: a vibrant tide pool teeming with bright, lively, colorful creatures; a playful island breeze glides across the translucent surface of the water, and–oh, hey! Here’s a fancy cocktail with a paper umbrella! Where’d that come from? It tastes like green mosses and french-milled soap, but it’s weirdly refreshing.

Thanatopsis is a meditation upon death inspired by William Cullen Bryant’s poem, and a deep, solemn earthen scent containing pine, juniper and musk. A green-ness so lush and concentrated that it is nearly a syrup, growing in mysterious realms alongside venerable woods and breathless darkness.

Madam Moriarty, Misfortune Teller from BPAL's Carnivale Diabolique series is the dark fruit of thickly sugared plum jam, tart pomegranate & redcurrant wine, and the spiced, earthy incense of red musk and patchouli enhancing and emboldening the berries and stone fruit, rendering them that much more lush and sticky. I am not a fancier of fruity fragrances, but even I can admit that it is an objectively beautiful scent, and there's a good reason it's a cult favorite.

Dana O’Shee is reminiscent of rice pudding with a soft pour of cream on top, and/or perhaps a honeyed milk custard, and stir in some sugared marizpan… but imagine dreamy spoonfuls of all of this while a faint incense lingers in the air. Or, perhaps, envision an unlit cone of sugared milk custard incense! It sounds delicious, but don’t eat it! Tempted though ye may be.

Tom Ford is a ghostly, glacial coniferous rosewood sandalwood melange of chilly, bitter, peppery woods. It is a tiny, sinister statue of a scent in an empty room where the temperature drops suddenly, with no explanation. The perfumed version of a little gremlin that appears in a haunting tale; one that skitters in the corners of your vision when the eye is focused elsewhere and inches eerily to your pillow when you're at the knife's edge of wakefulness and dream.

Citron Boboli was a lovely, unexpected surprise. It's such a light, refreshing, palliative scent; there's hardly anything to it at all, and then the longer you sit with it, the more mellow marvels it conjures. On the hottest day of the summer, when the sun bakes the earth, and the air hangs humid, heavy, and shimmering, find a mason jar, glass smooth and etchings worn, passed down from your mother's mother, to cradle a spell for a sweltering day. Beneath the skeletal shade of a midday tree, into this vessel layer lemon balm and blossom, a sprig of geranium, and a frilled citronella leaf–a soothing strata, herbal, citrusy, and green, a counterpoint to the relentless heat. Stream in a shiver of rainwater that has caught the reflection of the moon, and, finally, drop in as many cloves and peppercorns as loves you have lost, and smell their spiced warmth transmute into a strange, fizzing chill. Anoint your pulse, your throat, and your heart with the verdant brew, peer into its swirling emerald shadows, and let echo the words that cool the air and summon the soft, secret summer rain. This is what Citron Boboli is for me. And as a Floridian, I think this fragrance will be my go-to scorching summertime incantation of relief.

The last-gasp sour and tang of sun-shriveled citrus, fusty desiccated green herbs and mummified mosses, ashy, arid leather, and the most spectral iris wilting in a dissolving patch of shade whose earthy roots are already giving up the ghost, crumbling away in the sandy dirt. The radiant aurora of an eclipse made pale, parched apparition via a dusty, occluded lens.

Ôponé is a fragrance so revolting you’d think someone was joking, that it couldn’t possibly be real. But it is real, and I have a sample of it. It’s a vile cocktail of the following: a freshly-opened bottle of goopy, boozy-but-not-nearly-enough booze bitter berry Robitussin Maximum Strength Cough and Chest Congestion (possibly the one with Dextromethorphan and Guaifenesin), the most repellent, unpalatable artificial fruity-sour energy drink on the shelf with the most outrageously obnoxious packaging, the one so disgusting and foul that even the people you think might be into it would never buy, and the saddest long-stemmed fake rose wrapped in dusty crinkly plastic at the gas station. Nobody wants any part of this. Throw it in the trash immediately.

Moth is the cool glooms and musty melancholy of antique lace and silks tucked away with camphoraceus mothballs, there’s a smoky rose musk aspect, the spectral embers of a rose that lit itself on fire for love, or vengeance, or maybe both, and a bittersweet powdery element, like dried honey mixed with grave dust from a tomb. But the longer this wears, the more familiar it begins to smell, and I realize I am actually just wearing the musky vanilla and dusty florals of Hypnotic Poison, or alternately, the Bewitching Yasmine from Penhaligon, or Fleur Cachée from Anatol Lebreton, which to my nose, all smell like kindred spirits. And do I really need another perfume in that vein? And then I remember that I actually only own one bottle of those three scents and that one doesn’t have the thing going for it that Moth does: ultimately, Moth smells like a twilight shadowplay of austere embraces, a haunting chorus of forgotten languages, and basically what you wear to convince the ghosts that you are in fact a ghost.