In Sensorium brings together “the science of perfumery, the voices of freedom-fighting Bangladeshi femmes, and the author’s own experiences as a queer Muslim writer.”
, continues in this tradition, interweaving the science of perfumery, the voices of freedom-fighting Bangladeshi femmes, and the author’s own experiences as a queer Muslim writer into a narrative that fearlessly envisions liberation. It is, in short, the balm we have always needed.
I had so many different streams that I was swimming in! I had my academic sources. I had my memories. I had the fragrance and perfuming materials. I had the mythologies. I had the patrimyths of history that have erased our experiences as women, femmes, queer, trans, survivors of patriarchy. Slowly, I started to see the connections, and I created a path forward by following the fragments to a totality.
I don’t think separating our emotion from what we write is useful. Being “objective” feels like a white, male, ocular-centric mode of appraising a situation or a history. I can only honor and embody the femme experience—the softness, the tenderness, the rage, the eons of anger that I’m processing through writing—by being vulnerable and letting readers see what I’m experiencing as I’m learning this history.
A lot of the research I was able to access was written by either upper-class men or white men or Brahmins. For example, in medieval Indian texts, there’s this note calledIt’s just a regular, everyday oceanic note used to fix a perfume, but they described it as the scent of a loose woman. It’s not considered a fine fragrance like sandalwood or jasmine or any of these upper-caste fragrance milieus .
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