Smell is the most private sense-and in Patrick Süskind’s Perfume, it becomes a public weapon. Set in 18th-century France, the novel follows Jean-Baptiste Grenouille, an orphan with a preternatural nose and no scent of his own, as he turns raw talent into the dark art of perfumery.
Why this book still hits
- Craft you can feel. Distillation, maceration, enfleurage-Süskind makes the work of perfume as gripping as any chase.
- Obsession as engine. Grenouille’s genius mutates into control and erasure; the result is both fascinating and chilling.
- Prose with a pulse. The writing turns smells into shapes and colors; you’ll swear you can see aroma.
What it’s about (no spoilers)
Raised without affection, Grenouille discovers that scent is power. Apprenticed to Baldini, a fading Parisian perfumer, he learns to trap and compose aromas-then heads to Grasse, where his pursuit of the “perfect perfume” crosses the line from art to predation. Süskind keeps the violence mostly off-stage; the unease comes from how convincingly charisma can be bottled and sprayed.
Content note: Themes include murder and manipulation (non-graphic), with intense sensory description.
How to read it (and enjoy it)
- Pace it like a thriller. Short sessions work; chapters often hinge on a reveal.
- Lean into the senses. When Süskind slows down for a smell catalogue, let it wash over you-that’s the point.
- Take breaks after set pieces. The fish-market opening, Baldini’s shop, and early Grasse chapters are natural pause points.
If you like this, try…
- Joris-Karl Huysmans, Against Nature - decadent obsession, sense by sense.
- Michel Faber, The Crimson Petal and the White - Victorian grit with sensory heat.
- Maggie O’Farrell, The Marriage Portrait - historical psychology with tactile detail.
Frequently Asked Questions
What is Patrick Süskind’s novel ‘Perfume - The Story of a Murderer’ about?
A: An orphan with an extraordinary nose, Jean-Baptiste Grenouille, becomes a perfumer in 18th-century France and pursues the “perfect” scent-crossing moral lines as craft turns to obsession.
Is ‘Perfume - The Story of a Murderer’ historically accurate about 18th-century perfumery?
A: Süskind uses real trades (distillation, enfleurage) and places (Paris, Grasse) as a believable frame; Grenouille’s crimes are fictional, but the craft details feel authentic.
How dark or graphic is ‘Perfume - The Story of a Murderer’?
A: The novel deals with murder and manipulation, but most violence is implied rather than graphic. The intensity comes from psychological tension and sensory description.
Should I read ‘Perfume - The Story of a Murderer’ before watching the film adaptation?
A: Read first if you want Süskind’s language and sensory world; the film captures atmosphere, but the novel’s prose is the main event.
Where should I start in ‘Perfume - The Story of a Murderer’ if I just want a sample?
A: Begin with the Paris fish-market opening, then dip into the Baldini workshop chapters for a self-contained taste of the book’s craft and tone.
