Books like A Sensory History Manifesto — picked by fans

A gruesome story of murder and desire that also happens to have the most vivid olfactory descriptions of any genre.

Suskind’s preternatural ability to summon odor from the page makes you feel as if you are there beside him, walking through the flowered hillsides of Provence, or in the back room of a perfume shop on the Pont au Change. His twisted use of classic perfume techniques is as accurate as it is chilling.

Exploring how and why Romans built their houses to impact all bodily senses sits at the heart of my book.

Whilst interest in planning and building for such full body experiences in architecture today has declined, Pallasmaa’s The Eyes of the Skin presents a compelling argument for the importance of understanding the role of the multiple bodily senses in our experience of built spaces around us.

Divided into two main sections, the first of these examines the pre-eminence of sight in the West and its detrimental impact on architectural practise and our built environs.

The second part considers the role played our other bodily senses in experiencing architecture and proposes a new approach to building design and construction which seeks to integrate full sensory experience into the architectural process.

Hamilakis’s Archaeology and the Senses was one of the first books I read when starting to explore multisensory history, and it totally altered my view of how we study the past.

Focusing on Bronze-Age Crete, Hamilakis examines how archaeology has engaged with the bodily senses thus far and critiques its emphasis on sight and the traditional hierarchy of the five senses in the west.

Moreover, he proposes an innovative and exciting means by which archaeology can move beyond its focus on visual experiences of artefacts, environments, and materials to bring in lost and neglected, yet just as important, bodily senses such as sound, smell, taste, and touch.

Through this approach to archaeology he seeks to evoke a deeper, richer insight into the breadth of human experience in past societies.

A classic of cultural history that shows how thoroughly smell shapes our lived experience.

Corbin details how different (and generally worse) France smelled in the past, and how this world of miasmas and insalubrious airs dictated hygiene practices and social interactions. More recent works, like Jonathan Reinarz’ Past Scents: Historical Perspectives on Smell have further built on the treatment of odor as a powerful cultural force.

This is THE book to read on the senses, so I’m stating the obvious here. But let me tell you why it must be at the top of my list. Diane Ackerman takes us through a series of sensuous experiences, from extreme cold to a delicious massage to a thought-provoking meal.

But what’s remarkable is that because she’s a poet, her words pull you out of your mind and into your eyes, ears, nose, mouth, and skin cells. Here’s just one line. “Words are small shapes in the gorgeous chaos of the world. But they are shapes; they bring the world into focus, corral ideas, hone thoughts, paint watercolors of perception.” Like it? This book is full of them, and they left me tingling.

Told in lyrical language, two children wander through their city, looking for “wild” and finding it in motion, size, sounds, touch, and smell.“It leaps and pounces and  shows its teeth.” The words dance around, hinting at flora and fauna, using adjectives and verbs to suggest and evoke. This journey arouses awareness of the natural world that lives all around us in the city. Young readers will enjoy guessing what is being hinted at. This is such an original way to talk about the urban wild!  

These poems—most of every poem that Lee writes, really—do more than paint a picture. These poems appeal to every one of your senses. They are rich in description and you want to savor each one, sit with it, and let the poem envelop you. 

I heard or read somewhere that Li-Young Lee is a slow writer, not producing a lot of work but always producing good work. I don’t know if this is true, and except for my greed of wanting to consume more of his words asap, I don’t mind that his poems are slower coming. I like to spend time with them.

I share Rose because Lee teaches me—and my students—that writers depend too much on visual imagery and fear spreading out into the other senses.

Perceptual psychologist Lawrence Rosenblum’s book changed the way I thought about my brain on blindness and gave me hope about its ability to adapt. I was astonished by blind painters and mountain bikers, but more importantly, I learned that what often strike us as superpowers, are actually the result of practice and the cross-modal plasticity of the brain. The sighted brains that change after only five days of blindfold and intensive braille training, the experiments that demonstrate how humans can follow a scent trail, and the ways blind people (and sighted people) use echolocation to learn about their micro and macro environments (even if they are not always conscious of it), are just some of Rosenblum’s many examples that are as fun as they are fascinating.

What did Tudor England look, sound, or smell like?

This is an innovative work from Amy Licence, historian of women's lives. Using the five senses, she skilfully plunges readers into sixteenth-century England, letting us see, hear, smell, taste, and (almost) touch the Tudor world like we've never experienced it before.

The Enlightenment is often associated with intellectual changes. But the book sheds a new light on this “Age of Reason” by showing how emotions and feelings played a crucial role in this intellectually and sensorially dynamic period. Purnell tells this change by providing many interesting, and funny, episodes. My favorite, among others, is the seventeenth-century vogue for perfumes made of the excretions of the civet cat or the musk deer, and it was only in the mid-eighteenth century that floral scents became popular. This shift had to do with people’s ideas about health, cleanliness, and naturalness that changed over time. You will learn how and why people in the eighteenth and nineteenth centuries thought about the senses, how they experience their sensory world, and how our sensory experience came about over the course of a few hundred years.