We see all kinds of hands—child and adult—stenciled on cave walls around the world, but almost always the fingers are spread, like my kids’ hand stencils. I’m no Jungian, but it’s fascinating and a little strange that so many Paleolithic humans, who couldn’t possibly have had any contact with one another, created the same types of paintings using similar techniques—techniques that we are still using to paint hand stencils.

But then again, what the Lascaux art means to me is likely different from whatever it meant to the people who made it. The paeloanthropologist Genevieve von Petzinger has theorized that the abstract dots and squiggles found in cave paintings may have been an early form of written language, with a consistent set of meanings even across broad distances.

What was the motivation for the negative hand stencils? Perhaps they were part of religious rituals, or rites of passage. Some academics theorize that the hand stencils were part of hunting rituals. Or maybe the hand is just a convenient model situated at the end of the wrist. To me, though, the hand stencils say, “I was here.” They say, “You are not new.”

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The Lascaux cave has been closed to the public for many years now—too many people breathing inside of it led to the growth of mold and lichens, which has damaged some of the art. Just the act of looking at something can ruin it, I guess. The cave’s tour guide discoverers, Marcel Ravidat and Jacques Marsal, were among the first people to note the impact of contemporary humans on the ancient human art.

They were reunited with their codiscoverers Simon Coencas and Georges Agniel for the first time in 1986. After that, the “little gang” met regularly until one by one, they passed away. Simon Coencas was the last to die—in early 2020, at the age of ninety-three. So now the people who found Lascaux are gone, and Lascaux itself is sealed off from view, visited only by the scientists working to preserve it. But tourists can still visit imitation caves, called Lascaux II, Lascaux III, and Lascaux IV, in which the artwork has been meticulously re-created.

Humans making fake cave art to save real cave art may feel like Peak Anthropocene absurdity, but I confess I find it overwhelmingly hopeful that four kids and a dog named Robot discovered a cave containing seventeen-thousand-year-old handprints, that the two teenagers who could stay devoted themselves to the cave’s protection, and that when humans became a danger to that cave’s beauty, we agreed to stop going.

We might have graffitied over the paintings, or kept on visiting them until the black mold ate them away entirely. But we didn’t. We let them live on by sealing them off.

The cave paintings at Lascaux exist. You cannot visit. You can go to the fake cave we’ve built, and see nearly identical hand stencils, but you will know: This is not the thing itself, but a shadow of it. This is a handprint, but not a hand. This is a memory that you cannot return to. And to me, that makes the cave very much like the past it represents.

I give the cave paintings at Lascaux four and a half stars.

SCRATCH ’N’ SNIFF STICKERS

SMELL IS ONE OF THE LAST REALMS where virtual reality still feels deeply virtual. Recently, I found myself at a theme park riding a VR roller coaster that felt breath-stealingly real. It wasn’t just that falling felt like falling and turning felt like turning; I even felt the mist on my face as I flew through ocean spray.

But that water did not smell like the ocean. It smelled like this room deodorizer I’d used in high school called “Spring Rain.” “Spring Rain” didn’t actually smell like spring rain any more than it smelled like the ocean, but the scent did somehow communicate moisture, so I can understand why it had been repurposed as ocean-y. Still, nobody who has ever smelled the salty din of a cresting wave could possibly mistake it for the scent being pumped into that VR experience, and the smell of “Spring Rain” wrenched my mind from its state of joyfully suspended disbelief. Suddenly, I was not on a flying tour of a heaving ocean but instead stuck inside a dark room with a bunch of strangers.

One of the things that makes smell so powerful, of course, is its connection to memory. Helen Keller wrote that smell is “a potent wizard that transports us across a thousand miles and all the years we have lived.” The scent of artificial “Spring Rain” takes me back to an Alabama dorm room in 1993. The smell of actual spring rain, meanwhile, returns me to the drenching thunderstorms of my childhood in Central Florida.

Smell’s radical specificity is part of what connects it so particularly to memory; it’s also part of why imitation is so difficult, even when it comes to artificial odors. The scent of Chanel No. 5, for instance, is not patented, and doesn’t need to be, because no one can re-create it. But I think there’s something else at play with smells that try to mimic nature, which is that nothing in the real world ever smells quite like we imagine it should. Actual spring rain, for instance, seems like it ought to smell at once moist and crisp, like the artificial scent does. But in fact, springtime rain smells earthy and acidic.

Humans, meanwhile, smell like the exhalations of the bacteria that colonize us, a fact we go to extraordinary lengths to conceal, not only via soap and perfume, but also in how we collectively imagine the human scent. If you had an artificial intelligence read every novel ever written and then, based on those stories, guess the human odor, the AI would be spectacularly wrong. In our stories, people smell like vanilla, lavender, and sandalwood. The AI would presume we all smell not like the slowly decaying organic matter we are, but instead like newly mown grass and orange blossoms.

Which, incidentally, were two of the scratch ’n’ sniff sticker scents from my childhood. Scratch ’n’ sniff stickers were wildly popular in the 1980s, and I maintained a collection of them in a large pink sticker book. The stickers fascinated me—if you scratched or rubbed them, scent erupted without explanation. Like most virtual scents, scratch ’n’ sniff smells tend to be rather imperfect simulacrums, which is why the stickers generally depicted the scent they were going for. The pizza-scented stickers were usually slices of pizza, and so on. But they really did smell—often quite overpoweringly.

The smells best captured by scratch ’n’ sniff tend to be either aggressively artificial—cotton candy, for instance—or else straightforwardly chemical. A rotten eggsy odor is added to natural gas so that humans can smell a gas leak, and in 1987, the Baltimore Gas and Electric Company sent out scratch ’n’ sniff cards to their customers that mimicked the odor so effectively that several hundred people called the fire department to report leaks. The cards were soon discontinued.

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By the time I was ten or eleven, everyone had moved on from sticker collecting—everyone, that is, except for me. Even in middle school, I continued to surreptitiously collect stickers, especially scratch ’n’ sniff ones, because they took me back to a time and place that felt safer. In sixth grade, I had one class in a trailer each day. Because of some scheduling error, the teacher of that class had to walk across the entire school to get to the trailer, which meant that for about five minutes, we students were all on our own. Many days, a group of kids would throw me to the ground and then grab me by my limbs and pull on me as hard as they could. They called this “the abominable snowman.” Other times, garbage was poured on my head as I sat at my desk. Aside from the physical pain, it made me feel small and powerless. But I didn’t really resist it, because many days it was the only time I had any social interaction. Even when there was wet garbage on my head, I tried to laugh, like I was in on the joke.

When my mom got home from work, she would ask me how school was. If I told the truth, she would hold me and comfort me, encouraging me that this was temporary, that life would get better. But most days I would lie and tell her that school was fine. I didn’t want my hurt to travel through to her. On those days, I would go into my room and pull the pink sticker book out from my bookcase, and I would scratch the stickers, close my eyes, and inhale as deeply as I possibly could.

I had all the hits: Garfield eating chocolate, the lawn mower that smelled like grass, the taco that smelled like tacos. But I particularly loved the fruits—the cloyingly and otherworldly sweet distillations of raspberry and strawberry and banana. God, I loved scratch ’n’ sniff bananas. They didn’t smell like bananas, of course. They smelled like the Platonic ideal of bananas. If real bananas were a note played on a home piano, scratch ’n’ sniff bananas were that same note played on a church’s pipe organ.

Anyway, the weird part is not that I collected scratch ’n’ sniff stickers until I was a teenager. The weird part is, I still have that sticker album. And the stickers, when scratched, still erupt with scent.

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