Monoleg

Monoleg (pronounced mon-oh-leg)

(1) An object, structure or system with a single supporting leg (used typically of furniture).

(2) In speculative writing (usually in SF (science fiction) naturally one-legged creatures.

(3) In slang a one-legged human or a single prosthetic leg.

(4) In fashion, a garment (trousers, leggings etc) with only one fabric leg.

(5) In fashion, a measure (as “good monoleg” & “bad monoleg”) of how well the slit on a dress or skirt has been implemented.

1980s: The construct was mono- + leg.  Mono was from the Ancient Greek μόνος (monos) (alone, only, sole, single), from the Proto-Hellenic mónwos.  Oἶος (oîos) (only, single) was from óywos while the etymology of the initial element is uncertain but it may be from the primitive Indo-European men- (small), hinted at by the Ancient Greek μανός (manós) (sparse, rare), the Armenian մանր (manr) (slender, small) and even the Proto-West Germanic muniwu (small fish, minnow).  As a prefix, mono- is often found in chemical names to indicate a substance containing just one of a specified atom or group (eg a monohydrate such as carbon monoxide; carbon attached to a single atom of oxygen).  Leg was from the Middle English leg & legge, from the Old Norse leggr (leg, calf, bone of the arm or leg, hollow tube, stalk), from the Proto-Germanic lagjaz & lagwijaz (leg, thigh).  Although the source is uncertain, the Scandinavian forms may have come from a primitive Indo-European root used to mean “to bend” which would likely also have been linked with the Old High German Bein (bone, leg).  It was cognate with the Scots leg (leg), the Icelandic leggur (leg, limb), the Norwegian Bokmål legg (leg), the Norwegian Nynorsk legg (leg), the Swedish lägg (leg, shank, shaft), the Danish læg (leg), the Lombardic lagi (thigh, shank, leg), the Latin lacertus (limb, arm), and the Persian لنگ (leng).  After it entered the language, it mostly displaced the native Old English term sċanca (from which Modern English ultimately gained “shank”) which was probably from a root meaning “crooked” (in the literal sense of “bent” rather than the figurative used of crooked Hillary Clinton).  Monoleg is a noun; the noun plural is monolegs.

Three thoughts on the monoleg by Sarah Aphrodite (b 1979).

Although never likely to be seen on high streets, one-legged trousers always attract the eye of editors when seen on catwalks which is of course something of an end in itself.  The look was first seen in 2018 when the consensus seemed to be it was one of those absurdities shows can get away with once for the sake of the click-bait but in 2024 the monoleg returned with contributions from estimable fashion houses including Louis Vuitton, Bottega Veneta and Coperni and Louis Vuitton.  Apparently responsible for one-legged pairs of trousers was Dutch-born US designer Sarah Aphrodite who may not have imagined there would be many imitators but South Korean label Pushbutton launched a range of legged jeans, appealing presumably at least some of what has in the last decade become a nation of trend-setters.

Lindsay Lohan in a white ensemble by Michael Kors (b 1959) demonstrates the “momoleg” look offered by the “slit-cut” in a skirt or dress, New York, 2022.  Critics distinguish between the “good monoleg” & “bad monoleg”, the distinction between a cut which accentuates and one which just looks awkward.  This one is good.

The industry does like asymmetry and monolegs are about as jarring a look as fashion permits and of course, displaying only a leg, the look is lawful just about anywhere (except places run by ayatollahs, the Taliban etc),  It’s also correct to talk about “a pair of monolegs” despite that being an apparent linguistic paradox.  Like “pants” (which was from the French pantalon) which had its origin in a garment something like the leg-warmers of the 1980s (ie a separate one for each leg), trousers were originally separate pieces for each leg but obviously were always bought and worn in pairs, thus reference to “pair” (a la “a pair of gloves”.  Trousers dates from the early seventeenth century and was from the earlier trouzes, extended from trouse with the plural ending appended to follow the convention of such use for other garments.  The source was the Irish & Scottish Gaelic triubhas (the close-fitting trews (best understood as leggings)) and via the Middle Scots trewsers it entered English during the late Middle Ages.  The idea of a “pair of trousers” thus evolved from a “pair of garments” to the modern practice of describing bifurcated articles (in this case one for each leg) in a way which might suggest two items (al la “pair of glasses”, another thing which began a term meaning “two lens supplied together”, the definitely singular monocle a reminder of this history).  So a “pair of monolegs” is correct and in the tailoring sense there are (in a sense) two legs in a pair of monolegs; one much shorter than the other.

Monolegs on the catwalk, 2024.

Beyond the catwalk or those looking to be in the avant-garde of a short-lived trend, the monoleg might have some appeal for those with one heavily tattooed leg and one “clean-skin” (another asymmetry which seems to have some appeal) but the appeal is not likely to be wide because, unlike the long-established “fingerless glove”, a functional purpose is not immediately obvious.  There could though be a small (but presumably appreciative) audience among those diagnosed with the condition Body Integrity Dysphoria (BID and oreviosuly referred to as Body Integrity Identity Disorder (BIID) or Apotemnophilia, the latter term more specific and now dated.

Stensele monoleg bar table in anthracite by Ikea.  Thoughtfully, the Stensele included "handbag hooks", Swedish designers thinking about women more than most (it was Volvo which featured hollow headrests to accommodate pony-tails).

In the revision to the fifth edition (DSM-5-TR (2022)) of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM), BID was listed among those conditions awaiting “further study”.  That means BID is not yet an officially recognized disorder but has been identified as an area requiring more research to validate its inclusion as a formal diagnosis.  The core symptoms were detailed as (1) A strong and persistent desire for amputation or disability in a specific limb or body part, despite it being healthy and (2) significant distress or impairment in social, occupational, or other important areas of functioning due to this desire.  It manifests as a patient’s mismatch between their physical body and their internal sense of how their body should be, the “mismatch” due not to delusional thinking but reflecting a deeply ingrained identity issue.  It seems symptoms begin often in childhood or adolescence and may persist into adulthood, the feelings tending to be enduring and not fleeting.  Rare and unusual in most aspects, BID is distinct from conditions such as body dysmorphic disorder, gender dysphoria, or somatic delusions although there are overlapping features.  The inclusion in DSM-5-TR in “conditions for further study” indicates the profession’s growing recognition of the condition but also the need to discuss the ethical dilemmas presented, most obviously the implications of “providing a cure” (eg amputation a patient’s healthy leg).  There are cases in the literature of individuals who have reported an improved quality of life after elective amputation but for many reasons this is not accepted as a standard treatment and some suggest it should be contemplated only when a patient’s focus on amputation is such that there is an imminent danger of self-harm (ie performing a self-amputation).

Florence Griffith Joyner (1959-1998, left) and Serena Williams (b 1981, right).

The US sprinter Florence Griffith Joyner (1959-1998) in 1988 made a splash with a monoleg outfit and the tennis player Serena Williams (b 1981) paid tribute to her when she adopted the look in 2021.  Even those who liked the look concluded it was in each case worn as a promotional device (possibly for the inevitable clothing line) rather than something which might improve sporting performance although, if not causative, there was certainly correlation in this for Ms Griffith Joyner.  In the 100m event she ran an 11.06 in 1983 and in 1987 achieved a brace of 10.97s but in 1988 (at the age of 29) she set a new world record of 10.49, a mark which stands to this day.  Her late career improvement remains of the most remarkable in the history of athletics and one upon which many have remarked.

Edition

Edition (pronounced ih-dish-uhn)

(1) One of a series of printings of the same publication, each issued at a different time and differing from another by alterations, additions etc (historically sometimes referred to as impressions).

(2) The format in which a work is published (single volume edition, abridged edition, leather-bound edition, French language edition etc).

(3) In newspaper production, a form of differentiation between different versions of the “same” issue (late edition, city edition etc) and used in a similar manner in radio & television broadcasting.

(4) In book collecting, as “first edition”, a copy of a book from its first release or print run.

(5) The whole number of impressions or copies of a book, newspaper etc, printed from one set of type at one time.

(6) A version of anything (physical and not), often (sometimes misleadingly) in forms such as “limited edition”, “special edition” etc).

1545–1555: From the French édition, from the Middle French, from the Latin ēditiōn- (publication), the stem of ēditiō (a bringing forth, publishing), the construct being ēdit, the past participle of ēdere (to give out; bring forth, produce) + -iōn (the suffix appended to a perfect passive participle to form a noun of action or process, or the result of an action or process).  When the word entered English in the sense of “version, translation, a form of a literary work” (and later “act of publishing”) the dominant linguistic influence was probably the Latin editionem (a bringing forth, producing (although in specialized use it also carried the meaning “a statement, an account rendered”, from the past-participle stem of ēdere, the construct being e(x) (in the sense of “out”) + -dere, a combining form of dare (to give), from the primitive Indo-European root do- (to give).  Edition is a noun; the noun plural is editions.

More Issues Than Vogue sweatshirt from Impressions.

In publishing and (sometimes vaguely) related fields, the terms “issue”, “edition” and “version” have come to be used so loosely that they sometimes function interchangeably but within the publishing industry, there are conventions of use: Issue traditionally was used to refer to a specific release of a recurring publication (magazine, journal, newspaper etc) and tended to be tied to the release sequence (“October 2024 Issue”, “Fall 2024 Issue”, “Issue No. 215” etc).  Issue can however be used also as “re-issue” which refers usually to a “re-print” of a previous edition although it’s not uncommon for blurbs like “re-issued with new foreword” or “re-issued in large print” to appear, the implication being the substantive content remains the same.  Edition was used of a particular form or version of a publication that might differ from previous ones in significant ways which might include text corrections, foreign language translations, or updates, thus descriptions like “German Language Edition”, “Second Edition” or “Abridged Edition.  Some editions (especially those which appear in an irregular sequence) actually give in their title some hint of the nature of what distinguishes them from what came before such as the convention adopted by the American Psychiatric Association's (APA) Diagnostic for their Statistical Manual of Mental Disorders (DSM).  What the APA does is change the number if a DSM is regarded as a “new edition” but retain the number with an appended “R” (revised) or “TR” (text revision) if it’s an “updated edition”.  Thus has appeared the DSM-III-R (1987), the DSM-IV-TR (2000) and the DSM-5-TR (2022).  There’s some overlap in use for version and this perhaps reflects the influence of technology because it tends to be used of a specific form or variant of a publication such as language (eg Spanish version), format (eg audio version) or materials used in the construction (eg e-book version) rather than an implication of a chronological or iterative update (which in publishing tends to be called an “edition”.  In that the industry differs from IT where version numbers are almost always sequential although the convention widely used in the 1980s in which something like “version 2.4.3” could be interpreted as 2=major release, 4=update and 3= bug fix has long fallen into disuse.

Holy Bible, Revised Standard Version (RSV), 1952 limited edition, first printing by Thomas Nelson & Sons, brown full leather binding with inlaid gold lettering, silk end paper and green cardboard slip case, custom bound by the Chicago Bible Society.  US$750 from Abe Books.

There are also special uses which assume a life of their own, notably the Revised Standard Version (RSV), an English translation of the Bible published in 1952 by the Division of Christian Education of the National Council of the Churches of Christ in the US.  The RSV was a revision of the American Standard Version (ASV, 1901) and was published to render the text into the modern English which readily would be understood by a contemporary reader of modest education.  The object was not to change the meaning of the text but to preserve it and paradoxically this required editing the classic verses written by William Tyndale (circa 1494–1536) or in the King James Version (KJV, 1611) because the over hundreds of years the language had evolved and the much of what was in the original needed to be interpreted for a general audience and the controversy of clerical gatekeepers between God and his people had for centuries been a thing.  The RSV however has not been the last words and those who track novel initializms will have been delighted by the appearance of the New Revised Standard Version (NRSV, released in 1989 by the National Council of Churches (NCC) and the New Revised Standard Version Updated Edition (NRSVue), published in 2021.  Students of such things aren’t expecting the next update for at least a decade but finding a name might prove more of a challenge than editing the Old Testament’s Book of Leviticus for a modern audience although those who have worked in biblical forks have found alpha-numeric solutions such as RSV-2CE (Revised Standard Version, Second Catholic Edition (2006))

First Edition of James Joyce’s Ulysses, "Copy No 1", held in the National Library of Ireland.  It contains in Joyce's hand an inscription to the English political activist Harriet Shaw Weaver (1876–1961) who was for decades his patron.

A first edition of Ulysses (1922) by James Joyce (1882–1941) in 2009 sold on the opening day of an antiquarian book fair London for Stg£275,000, at the time a record for a twentieth century first edition.  Ulysses is regarded in the industry as the most collectable modern novel and the first editions, printed on hand-made Dutch fine-paper, are well-catalogued and this was number 45 of the first edition print run (all signed by the author) of 100, one of four not previously accounted for.  It had been sold originally by the Manhattan’s obviously subversive Sunwise Turn bookshop (Ulysses at the times banned in the US) and remained in the possession of the same family, stored in its original box and thus not exposed to light, accounting for the preservation of the construction.  Proving that dealers in literary circles can gush with the finest used car salesmen, the dealer who arranged the sale explained: “The color is amazing – this lovely Aegean Sea, Greek flag blue which would normally have darkened into a more dirty blue but because it has been in a box it is a complete thing of beauty.”  The almost pristine condition was a product also of its history of use, an inspection suggesting it was seemingly unread except for the well-thumbed final chapter where the most salacious passages can be found.  The existence of unread copies of well-known books is not unusual and those notorious for sitting neglected on the bookshelf include “challenging” texts such as A Theory of Justice (1971) by John Rawls (1921–2002), A Brief History of Time (1988) by Stephen Hawking (1942–2018) and Joyce’s own, bafflingly difficult Finnegans Wake (1939).  Intriguingly, the antiquarian book business also includes the category “pre-first edition” (any limited run copy of a book printed before the “first edition” is published).  The apparent oxymoron is explained by “first edition” being an industry definition rather than a literal description; pre-first editions thus analogous with “pre-production” or “final prototype” cars which (if they’ve survive the crusher which claims most) can be prized by collectors.

Among special editions there are, inter alia, “Collector's Editions”, “Anniversary Editions” and even, in one instance, the “So Fetch Edition”.

In commerce, “special editions” have become notable income generators for content providers and the movie business has embraced the concept with editions such as “the making of”, “bloopers & out-takes”, “director’s cut” and others and the idea isn’t new.  Led Zeppelin's eighth studio album (In Through the Out Door (1979)) originally was sold with an outer sleeve of plain brown paper, stamped with nothing more than the while the cardboard sleeve proper within was released with six different versions of the artwork.  Buyers would thus not know which sleeve they were selecting.  There’s nothing to suggest it was anything but a gimmick and neither the band nor the record company were expecting many to keep buying copies in the plain brown wrapped until they’d scored all six covers but there were press reports at the time of "Led Heads" doing exactly that.  The industry took note.

Taylor Swift's The Anthology, one of 34 available editions of The Tortured Poets Department.

The attraction of releasing multiple versions of essentially the same product with variations restricted to some added content or detail differences in the packaging is that the additional costs in production and distribution are marginal yet there’s sometimes it’s possible to charge a premium for the “non-standard editions”.  The practice had for decades been quite a thing with car manufacturers but the music business came also to like the idea because, unlike with the cars where customers tended to buy one at a time, obsessive fans of musicians might be persuaded they needed several copies of what was essentially the same thing.  Leftist UK student site The Tab noted few music fans were as obsessive as Taylor Swift’s (b 1989) Swifties and, more significantly, they were also impressively numerous and thus an irresistible catchment of disposable income.  What The TAB noted was the almost simultaneous release of a remarkable (and apparently unprecedented) of 34 versions of Ms Swift’s eleventh album, The Tortured Poets Department (2024), something which as well as generating revenue has the statistical benefit of afforcing her presence on the charts, every sale counting as a 1.0.  Some were technologically deterministic in than four were released as audio cassettes and nine were exclusively digital bit most were essentially the same product except for the inclusion of a bonus track and there were some available only through the retailer Target.  The most obsessive Swifties obviously could buy all 34 editions but for those which want just an exhaustive collection of the music, it appeared all was included on the accurately named The Anthology so there was that.  One day, all 34, still (where appropriate) unopened in their original packaging will appear begin to appear on auction sites.  The approach attracted some adverse comment (which the Swifties doubtless ignored) and probably confirmed in the mind of JD Vance (b 1984; US senator (Republican-Ohio) since 2023) that childless cat ladies are evil.

All editions: The Tab’s The Tortured Poets Department discography:

1. Collector’s Edition Deluxe with The Manuscript
2. Collector’s Edition Deluxe with The Albatross
3. Collector’s Edition Deluxe with The Bolter
4. Collector’s Edition Deluxe with The Black Dog
5. Standard album and The Manuscript
6. Standard and The Manuscript (signed)
7. Standard and But Daddy I Love Him (Acoustic)
8. Standard and Guilty As Sin? (Acoustic)
9. Standard and Down Bad (Acoustic)
10. Standard and Fortnight (Acoustic)
11. Standard and Fresh Out The Slammer (Acoustic)
12. Target exclusive with The Albatross
13. Target exclusive with The Bolter
14. Target exclusive with The Black Dog
15. Target exclusive vinyl
16. The Manuscript vinyl (pressing one)
17. The Manuscript vinyl (pressing two)
18. The Albatross vinyl
19. The Bolter vinyl
20. The Black Dog vinyl
21. The Manuscript vinyl
22. The Anthology
23. Standard and The Black Dog ‘voice memo’
24. Standard album and Who’s Afraid of Little Old Me voice memo
25. Standard album and Cassandra voice memo
26. Standard album (digital)
27. Standard album and Daddy I Love Him (Acoustic)
28. Standard album and loml (live from Paris)
29. Standard album and My Boy Only Breaks His Favorite Toys (live from Paris)
30. Standard album and The Alchemy / Treacherous mashup (live from Paris)
31. The Manuscript cassette
32. The Bolter cassette
33. The Albatross cassette
34. The Black Dog cassette

1976 Lincoln Continental Mark IV, Lipstick edition.  The shade of red appears to be close to Dior's lipstick #744 (Party Red).

The car manufacturers have produced at least hundreds of “special editions”, a concept to which they kept returning because it was lucrative, the things usually profitable to an extent exceeding greatly the nominal sum of their parts.  Quite how many have existed over the years is difficult to estimate because, in addition to the well-documented examples from manufacturers which were sold nationally or even globally, some were offered only briefly or regionally and barely advertised.  Additionally, dealers or sometimes an agglomeration of them would also conjure up their own "special editions" so the total of such things is probably in the thousands.  Sometimes, fashion houses were paid to lend their name, AMC teaming with Pierre Cardin, Levi Strauss (Volkswagen also had a denim-trimmed Beetle though without a specific brand attribution) & Oleg Cassini while the Lincoln Continental at times was offered with themes by Emilio Pucci, Cartier, Bill Blass and de Givenchy although the most memorable were the reputed 500 “Lipstick editions”, a study in red & white, quite a sight given the expanse of sheet metal and leather.

1969 Dodge Charger R/T SE (left), 1972 Chrysler VH Valiant Charger 770SE E55 (centre left), 1976 Holden HX LE (centre right) and 2002 Mazda Miata Special Edition (MX-5 in some markets) (right).

In most of the “special” editions, offered over the decades, it was only in the advertising or press kits that terms like “special edition” or “limited edition” appeared.  Sometimes though, such physical badges did appear on the vehicles. In the US, on the 1969 Dodge Chargers with the SE option, the badge included both “SE” & “Special Edition” while in Australia, only “SE” appeared on the 1972 Chrysler VH Valiant Charger 770SE E55 (one of the industry’s longer model names) although the marketing material called it a “Special Edition”, a usage borrowed from the parent corporation in the US and even the badge used was the same part as that which had been stuck on the 1970 Dodge Challenger SE.  Holden’s frankly cynical (but most profitable) 1976 LE spelled out “Limited Edition” under a “LE” (in a larger font) while Mazda used only the full term for the Miata (MX-5) Special Edition models.

Limited Edition, less limited profit: The Holden LE

1976 HX Holden LE

By the mid 1970s, the market had come to prefer the cheaper, smaller and easier to use cassette tapes which meant warehouses were soon full of the once desirable 8-track players and buyers were scarce.  In Australia, GMH (General Motor Holden) by 1975 had nearly a thousand in the inventory which also bulged with 600-odd Monaro body-shells, neither of which were attracting customers; fashions change and both had become unfashionable.  Fortunately, GMH was well-acquainted with the concept of the "parts-bin special edition" whereby old, unsaleable items are bundled together and sold at what appears a discount, based for advertising purposes on a book-value retail price there’s no longer any chance of realizing.  Thus created was the high-priced, limited edition LE (which stood for "Limited Edition", the Monaro name appearing nowhere although all seem still to use the name), in metallic crimson with gold pin striping, golf "honeycomb" aluminium wheels, fake (plastic) burl walnut trim and crushed velour (polyester) upholstery; in the 1970s, this was tasteful.  Not designed for the purpose, the eight-track cartridge player crudely was bolted to the console but five-hundred and eighty LEs were made, GMH pleasantly surprised at how quickly they sold with no need to resort to discounting.  When new, they listed at Aus$11,500, a pleasingly profitable premium of some 35% above the unwanted vehicle on which it was based; these days, examples are advertised for sale for (Aus$) six-figure sums and anyone who now buys a LE does so for reasons other than specific-performance.  Although of compact size (in US terms) and fitted with a 308 cubic inch (5.0 litre) V8, it could achieve barely 110 mph (175 km/h), acceleration was lethargic by earlier and (much) later standards yet fuel consumption was high; slow and thirsty the price to be paid for the early implementations of the emission control plumbing bolted to engines designed during more toxic times.      

1971 Holden HQ Monaro LS 350

The overwrought and bling-laden Holden HX typified the tendency during the 1970s and of US manufacturers and their colonial off-shoots to take a fundamentally elegant design and, with a heavy-handed re-style, distort it into something ugly.  A preview of the later “malaise era” (so named in the US for many reasons), it was rare for a facelift to improve the original.  The 1971 HQ Holden was admired for an austerity of line and fine detailing; what followed over three subsequent generations lacked that restraint.  The HX LE was one of a number of "special" and "limited" editions offered during the era and it remains one of the few remembered.

Osphresiolagnia

Osphresiolagnia (pronounced aus-free-see-a-lan-gee-ah)

A paraphilia characterized by recurrent sexually arousing fantasies, sexual urges, or behaviour involving smells.

Early-mid twentieth century: A coining in clinical psychiatry the construct being osphres(is) + lagina.  Osphresis was from the Ancient Greek ὀσφρῆσις (osphrēsis) (sense of smell; olfaction).  Lagina was from the Ancient Greek λαγνεία (lagina) (lust; sexual desire), from λᾰγνός (lagnos) (lustful; sexually aroused).  Osphresiolagnia thus translated literally as “lust or sexual arousal related to or induced by one’s sense of smell”. Osphresiolagnia & Osphresiolagnism are nouns and osphresiolagnic is a noun & adjective; the noun plural is Osphresiolagnias.

The synonym is olfactophilia (sexual arousal caused by smells or odors, especially from the human body) and in modern clinical use, that’s seems now the accepted form.  Although now rare, in clinical use a renifleur was paraphiliac who derived sexual pleasure from certain smells.  Renifleur was from the French noun renifleur (the feminine renifleuse, the plural renifleurs), the construct being renifler +‎ -eur.  The construct of the verb renifler was re- (used in the sense of “to do; to perform the function”) + nifler (to irritate, to annoy); it was from the same Germanic root as the Italian niffo & niffa (snout) and related to the Low German Niff (nose, mouth, bill), the Dutch neb (nose, beak) and the English neb (nose, beak, face).  The French suffix -eur was from the Middle French, from the Old French -eor or -or, from the Latin -ātōrem & -tor and a doublet of -ateur.  It was used to form masculine agent nouns from verbs (some of which were used also as adjectives).

Pioneering Austrian psychoanalyst Sigmund Freud (1856-1939) never developed his hypothesis of osphresiolagnia into a fully-developed theory and in his papers it’s mentioned only as an aspect of the psychoanalytic exploration of human sexuality, specifically focusing on the role of olfactory stimuli (sense of smell) in sexual arousal.  It was part of a body of work in which he explored his concept of fetishism and infantile sexuality.  In psychoanalysis, osphresiolagnia described the condition (“the state” might now be thought a better way of putting it) where certain smells become associated with sexual pleasure or arousal and to Freud these naturally were those related to bodily functions, such as sweat, skin, or other natural odors because he believed different sensory experiences, including smell, could become a focus of sexual fixation, particularly if something in early psychosexual development caused this association.  The tie-in with fetishism was that an obsessive focus on the sense of can form as a way of displacing or substituting more normative sexual interests.  Freud spoke also of the significance of the senses (including smell) in early childhood development and linked them to psychosexual stages, where early experiences with stimuli can influence later adult sexuality and while he didn’t use the word, he believed a smell associated with some significant childhood experience, could, even decades later, act as a “trigger”.  Although it’s been in the literature for more than a century, osmophresiolagnia (also now sometimes called “olfactory stimulation”) seems to have aroused more clinical and academic interest in the last fifteen years and while the psychological and physiological responses to certain smells have been well-documented, it was usually in the context of revulsion and the way this response could influence the decision-making processes.  However, positive responses can also be influential, thus the renewed interest.

In medicine and the study of human and animal sexuality, the significance of “olfactory attraction” has been researched and appears to be well understood.  At its most, the idea of olfactory attraction is that animals (including humans) can be attracted to someone based on scent; in the patients seen by psychiatrists, they can also be attracted to objects based on their smell, either because of their inherent quality or by their association with someone (either someone specific or “anyone”.  The best known aspect of the science is the study of pheromones (in biology A chemical secreted by an animal which acts to affects the development or behavior of other members of the same species, functioning often as a means of attracting a member of the opposite sex).  Human pheromones have been synthesised and are available commercially in convenient spray-packs for those who wish to enhance their desirability with a chemical additive.  More generally, there is also the notion of “fragrance attraction” which describes the allure another’s smell (either natural or the scent they wear) exerts and this can manifest in “objective transference” (keeping close during periods of absence a lover’s article of clothing or inhaling from the bottle of perfume they wear.

The opposite of being attracted to a smell is finding one repellent.  What is known in the profession technically as ORS (olfactory reference syndrome) has never been classified as a separate disorder in either the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) or the World Health Organization’s (WHO) International Classification of Diseases (ICD).  The DSM-III-R (1987) did mention ORS in the context of “aversion”, noting “convictions that the person emits a foul odor…are one of the most common types of delusional disorder, somatic type”, the idea extended in DSM-IV (1994) which referred to the concept as a type of delusional disorder, somatic type, although the term “olfactory reference syndrome” was not mentioned.

In October 2024, it was reported by Greek news services that a court in Thessaloniki (the capital of the Macedonia region and Greece's second city) in the north of the country had imposed a suspended one-month prison sentence on a man convicted of “…disturbing his neighbors by repeatedly sneaking into their properties to smell their shoes.”  According to the AP (Associated Press), the 28-year-old man was unable to explain his behaviour although he did tell the court he was “embarrassed by it”, adding that he had “…no intention of breaking the law or harming anybody…” and his neighbours did testify he never displayed any signs of aggression during his nocturnal visits to the shoes, left outside the door to air.  The offences were committed in the village of Sindos, some 15 kilometres (9 miles) west of Thessaloniki and the police were called only after the man had ignored requests sent to his family that his conduct stop.  According to the neighbours, there had in the last six months been at least three prior instances of shoe sniffing.  In addition to the suspended sentence, the defendant was ordered to attend therapy sessions.

The postman always sniffs twice, Balnagask Circle, Torry, Aberdeen, Scotland, August 2024.  Helpfully, the video clip was posted by the Daily Mail and from his grave of a hundred-odd years, old Lord Northcliffe (Alfred Harmsworth, 1865–1922) would be delighted.

Osphresiolagnia is however not culturally specific and in August 2024, a postman delivering mail to an address on Balnagask Circle in the Torry area of South Aberdeen, Scotland was captured on a doorbell camera, pausing to “to sniff girl's shoes”.  All appeared normal until the osphresiolagnic servant of the Royal Mail had put the letters in the slot but then he turned and, after a grief glance at the shoe rack, bent down and picked up a white trainer which he sniffed before leaving to resume his round (and possibly his sniffing).  The mother of the girl whose shoes fell victim to the postman posted the video on social media, tagging the entry: “I would just like to let everyone know just to watch out for this postman; he sniffed my daughter's shoes; what an absolute creep.”  The clip came to the attention of the Scottish police which issued a statement: “We received a report of a man acting suspiciously in the Balnagask Circle area of Aberdeen.  Enquiries were carried out and no criminality was established. Suitable advice was given.”  It wasn’t made clear what that advice was or to whom it’s been delivered but presumably the constabulary’s attitude was no shoe being harmed during this sniffing, all’s well that ends well.

Shoe-sniffing should not be confused with Podophilia (a paraphilia describing the sexualized objectification of feet (and sometimes footwear), commonly called foot fetishism although the correct clinical description is now “foot partialism”).  The construct was podo- +‎ -philia.  Podo- (pertaining to a foot or a foot-like part) was from the Ancient Greek πούς (poús), from the primitive Indo-European pṓds.  It was cognate with the Mycenaean Greek po, the Latin pēs, the Sanskrit पद् (pad), the Old Armenian ոտն (otn) & հետ (het), the Gothic fōtus and the Old English fōt (from which Modern English gained “foot”).  It was Sigmund Freud who admitted that, lawfulness aside, as animals, the only truly aberrant sexual behavior in humans could be said to be its absence (something which the modern asexual movement re-defines rather than disproves).  It seemed to be in that spirit the DSM-5 (2013) was revised to treat podophila and many other “harmless” behaviors as “normal” and thus within the purview of the manual only to the extent of being described, clinical intervention no longer required.  Whether all psychiatrists agree with the new permissiveness isn’t known but early reports suggest there’s nothing in the DSM-5-TR (2022) to suggest podophiles will soon again be labeled as deviants.

Point of vulnerability to osphresiolagnism: Lindsay Lohan taking off her shoes and putting them on the shoe rack.  The photo shoot featured Ms Lohan as a nueva embajadora de Allbirds (new Allbirds ambassador), in a promotion for Allbirds (Comfortable, Sustainable Shoes & Apparel) and the shoes are the Tree Flyer in Lux Pink which include “no plastics” in their construction.  The photo session may have been shot on a Wednesday.

Shoe sniffing is different and clinicians define it as an instance of “intimacy by proxy” in a similar class to those who steal women’s underwear from their clothes lines; an attempt to in some way be associated with the wearer.  This differs from those with an interest in shoes or the garments as objects because they can fulfil their desires (conveniently & lawfully), by buying what they want from a shop.  How prevalent are such proclivities isn’t known because, being lawful (and in most cases presumably secret) fetish, unless self-reported, clinicians would never become aware of the activity.

Brobdingnagian

Brobdingnagian (pronounced brob-ding-nag-ee-uhn)

(1) Of huge size; gigantic; tremendous.

(2) Larger than typical or expected.

(3) In medicine (psychiatry & clinical ophthalmology), as the noun “brobdingnagian vision”, a hallucination or visual disorder in which objects appear larger or nearer than they are (macropsia).  The companion (antonym) condition is “lilliputian vision”, a hallucination or visual disorder in which objects appear smaller or more distant than they are (micropsia).

(4) In mycology, of the brobdingnagia, a genus of fungi in the family Phyllachoraceae.

(5) Of or pertaining to the fictional land of Brobdingnag.

(5) An inhabitant or native of the fictional land of Brobdingnag.

1728 (in more frequent use by mid-century): An adjective to convey the sense of “enormous in size, huge, immense, gigantic etc, derived from the noun Brobdingnag (the land of the giants) the second of the exotic lands visited by the protagonist Lemuel Gulliver in Gulliver’s Travels (1726 and titled Travels into several remote nations of the world for the first edition), written in the style of contemporary “travel guides” by the Anglo-Irish author & satirist Jonathan Swift (1667–1745).  The construct was Brobdingnag +‎ -ian.  The suffix -ian was a euphonic variant of –an & -n, from the Middle English -an, (regularly -ain, -ein & -en), from the Old French –ain & -ein (or before i, -en), the Modern French forms being –ain & -en (feminine -aine, -enne), from the Latin -iānus (the alternative forms were -ānus, -ēnus, -īnus & -ūnus), which formed adjectives of belonging or origin from a noun, being -nus (cognate with the Ancient Greek -νος (-nos)), preceded by a vowel, from the primitive Indo-European -nós.  It was cognate with the English -en.  Brobdingnagian is a noun & adjective; the noun plural is Brobdingnagians (initial upper case if used of the inhabitants or natives of the fictional land of Brobdingnag but not for other purposes (such as untypically large cosmic objects)).  To distinguish between big stuff, the comparative is “more brobdingnagian” and the superlative “most brobdingnagian”.

In constructing the name Brobdingnag for his fictional land of giants, Swift used a technique more subtle than some authors who use more obvious charactonyms.  In literature, a charactonym is a name given to a character that suggests something about their personality, behavior, or role in the story; these names almost always have some literal or symbolic meaning aligning with or hinting at the character’s traits and examples include:

Alfred Doolittle (lazy and opportunistic) in George Bernard Shaw’s (GBS; 1856-1950) Pygmalion (1913).

Miss Honey (sweet & gentle) in Roald Dahl’s (1916–1990) Matilda (1988) and Veruca Salt (harsh and unpleasant) in his Charlie and the Chocolate Factory (1964).

Mr Bumble (noted for his bumbling inept incompetence) in Charles Dickens’ (1812–1870) Oliver Twist (1837).

Willy Loman (of low social status and beset with feelings of inadequacy) in Arthur Miller’s (1915–2005) Death of a Salesman (1949).

The use of blatant charactonyms is not always an example of linguistic brutishness and it’s often used in children's literarure or when it’s demanded by the rhythm of text or plat.  There are also “reverse charactonyms” when the traits of a characteristic become famously (or infamously) emblematic of something such as Shylock in William Shakespeare’s (1564–1616) The Merchant of Venice (1598) or Ebenezer Scrooge in Dickens A Christmas Carol (1843).

A brobdingnagian on the beach; a Lindsay Lohan meme.  Although a Swiftian meme, the use of that term will now probably be more suggestive of a later Swift, certainly to Swifties (the devotees of the singer Taylor Swift (b 1989)).

As well as the meanings of words, Swift liked to use the sounds of language in fashioning fictional names which were both plausible and in some way suggestive of the association he wanted to summon.  Structurally, what he appears to have done is combine arbitrary syllables to create a word sounding foreign and exotic while still being pronounceable by the English-speaking audience for which he wrote; the technique is harder to master than it sounds although with modern generative AI, presumably it’s become easier.  As a literary trick, Brobdingnag works because of the elements in the construction (1) the multisyllabic length and (2) the use of “harsh” consonants (notably the “b” & “g” which lend a sense of bulk and largeness, appropriate for the “land of the giants”.  The other exotic land in Gulliver’s Travels was Lilliput, the place where the people are tiny.  Just as he intended Brobdingnag to invoke thoughts of something (or someone) clumsy and heavy, Lilliput and Lilliputian were meant to suggest “small, delicate”.

Map of Brobdingnag from the 1726 edition of Travels into several remote nations of the world (the original title of Gulliver's Travels).

Although since Swift, the adjective brobdingnagian has never gone away, it’s length and “unnatural” (for English) spelling has meant it’s only ever been a “niche” word”, used as a literary device and astronomers like it when writing of stars, galaxies, black holes and such which are of such dimensions that miles or kilometres are not c convenient measure, demanding instead terms like “light years” (the distance in which light travels in one Earth year” or “parsecs” (a unit of astronomical length, based on the distance from Earth at which a star would have a parallax of one second of arc which is equivalent to 206,265 times the distance from the earth to the sun or 3.26 light-years.  Its lineal equivalent is about 19.1 trillion miles (30.8 trillion km)).

The king of Brobdingnag and Gulliver, cartoon by James Gillray (1756-1815), published in London 10 February 1804 during the era of the Napoleonic Wars (1803-1815).  British Cartoon Prints Collection, Library of Congress, Washington DC.

The work depicts the king of Brobdingnag (George III (1738–1820; King of Great Britain and Ireland 1760-1820)) staring intently at a tank in which is sailing Gulliver (Napoleon Bonaparte (1769–1821; leader of the French Republic 1799-1804 & Emperor of the French from 1804-1814 & 1815).  Lord Salisbury (1748–1823) stands behind the king.  It was a time when Napoleon was planning to invade England, his Grande Armée transported in “flat-bottomed boats” which were a sort of early landing craft, a design which would emerge in specialized forks for various purposes (troops, tanks etc) during World War II (1939-1945).  It wasn’t until the Royal Navy prevailed in the Battle of Trafalgar (21 October 1805) that the threat of invasion was ended.  At the time of the cartoon’s publication, George III had for some years already been displaying signs of mental instability (thought now to be consistent with bipolar disorder (the old manic depression)) although it would be almost a decade before his condition deteriorated to such an extent a regent was appointed.

Brobdingnagian’s more familiar role is in literature where it depends for effect on rarity; twice in the one book is one too many  Tellingly (and unsurprisingly given the inherent clumsiness), it’s rare in poetry although some have made the effort, possibly just to prove it can be done, one anonymous poet leaving us The Awful Fate of Mr. Foster, believed to be a parody of the poetic style of William Makepeace Thackeray (1811–1863) “Brobdingnagian” interpolated possibly because Thackeray was wrote some acerbic critiques of Swift’s work:

He never more will rise again, or open those kind eyes again,
He lies beneath the sod;
Beneath the tall Brobdingnagian tomb, the popular concernment's doom,
Of an enormous god!

Parcopresis

Parcopresis (pronounced par-kop-ruh-sys)

In mental health, a spectrum condition ranging from a marked reluctance (with associated symptoms of psychological distress) to a physical inability to defecate in situations where others will be aware of the activity.

2010s: The word was modelled on paruresis (the inability to urinate in the presence (even if visually segregated) of others), the construct being par(a)- (abnormal, defective) +‎ uresis (urination).  Parcopresis was built by substituting copro- (relating to excrement or dung), from the Ancient Greek κόπρος (kópros) (excrement) for uro- (urine; relating to urine and the urinary system), from the Ancient Greek οὖρον (oûron).  Parcopresis is a noun.  As a class, medical conditions are an exception to the conventions of the English language governing the construction of a noun plural or adjective.  There is no recognized noun plural for parcopresis because medical conditions tend to be referred to in the singular (in the way neither “diabetes” or “arthritis” has a companion noun plural) so the usual practice would be to use phrases like “cases of parcopresis” or “patients with parcopresis”.  Less controversial would be an adjectival form which, following the conventions of English, presumably would be constructed as parcopretic or parcopresic (modelled on the way “psychosis” becomes “psychotic”).  There seems however no evidence of such use and the practice by clinicians remains to use phrases like “patient(s) suffering from parcopresis” or “patient(s) experiencing parcopresis-related symptoms”.  If the condition becomes more studied and more work is published, there may be inguistic innovation.

The word has in the last decade appeared with greater frequency, use triggered apparently by an appearance in 2011 when a case report on paruresis and parcopresis was published in the Revista Brasileira de Psiquiatria (the Brazilian Journal of Psychiatry), describing parcopresis as a psychogenic condition, sometimes related to social anxiety (though distinct from the better known paruresis).  However, despite that (slight) spike which presumably is indicative of some increase in interest in psychological circles, parcopresis has not yet been classified in major diagnostic systems like the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) or the World Health Organization’s (WHO) International Classification of Diseases (ICD)) although other sources (including the National Phobics Society) do list it as a sub-type of Social Anxiety Disorder (SAD).  By contrast, the urinary counterpart (paruresis) appears in the DSM-5-TR (2022), classified as a social phobia.

In clinical use, parcopresis is known also as psychogenic fecal retention (PFR) or (more conveniently and following the clinical shorthand of paruresis being called “shy bladder”) there’s also “shy bowel” and the even better “poop shy”, defined as “the inability to defecate without a certain level of privacy (and the extent of that level varies between patients)).  It manifests thus as something ranging from a “reluctance or difficulty” associated with the symptoms of significant psychological distress (diaphoresis (excessive perspiration), tachypnoea (hyperventilation), heart palpitations, muscle tension, blushing, nausea & trembling) to actual physical inability.  Although the sample sizes are small, there are instances both of a co-morbidity with paruresis and as a stand-alone condition.  The well-understood reluctance to use public toilets related to their notoriously less than immaculate cleanliness is not an instance of parcopresis; it’s just a product of the fastidiousness in matters of hygiene which civilization has bred into populations enjoying the fruits of modernity and again, this exists on a spectrum (and, impressionistically, women exhibit higher standards than men).  Instead, the triggers for the condition are listed usually as “SSS” (sights, sounds, smells) but this refers not to the revulsion the putative pooper may feel but the fear that others may (1) be in their proximity and thus know what they’re doing, (1) hear them doing it and (3) get a whiff of the aftermath.

While toilets in shared spaces can, for some,  induce parcopresis, for others, in certain circumstances, they can provide a place of sanctuary: Lindsay Lohan in Mean Girls (2004).

Parcopresis is not (yet) a medically recognized condition although the 2011 paper in the Brazilian Journal of Psychiatry did suggest it should be classified as a form of social phobia and historically there’s no requirement a syndrome being widespread to justify a classification: it needs just to have defined parameters.  The extent of the prevalence is thus less relevant than its existence although for the editors of the DSM or ICD to consider an entry would presumably be contingent upon a certain clinical utility, something which wouldn’t seem to preclude listing it among the social phobias.  As far as is known, the only studies exploring the prevalence of the condition have been those with small sample sizes conducted among university students and while obviously not representative of the broader population, all were gender-adjusted and reported between 10-20% of the study population avoided using public toilets for reasons in some way associated with parcopresis, a prevalence significantly higher in females.  By contrast, the more extensively studied paruresis is reported at a level between 2.8-16.4% of the population and is much more prevalent in males (75–92%) than females (8.1–44.6%), the usually explanation being MPSAD (male penis size anxiety disorder).

Clinicians note that although parcopresis is nominally a mental health condition, there can also be physical implications including “stools becoming lodged in the colon and the onset or exacerbation of haemorrhoids (piles).”  There’s thought to be limited scope for drug treatments beyond what anyway may be prescribed in cases of SAD or related conditions and most clinicians recommended approaches such as hypnotherapy, stress management, relaxation training and CBT (cognitive behavioral therapy), the latter usually in the form of graduated exposure therapy (GGT or systematic desensitization).  The CBT approach is well-documented and begins by suggesting patients be reminded “that everyone poops”.  That may not be true because in 2007, the KCNA (Korean Central News Agency, the DPRK’s (North Korea) energetic and productive state media) published a profile of Kim Jong-il (Kim II, 1941–2011; Dear Leader of DPRK (North Korea), 1994-2011) noting the physiology of the Dear Leader was so remarkable he was not subject to bowel movements, never needing to defecate or urinate.  It’s not known if this is a genetic characteristic of the dynasty and thus inherited by Kim Jong-un (Kim III, b circa 1982; Supreme Leader (originally The Great Successor) of DPRK since 2011) but this seems unlikely because the Supreme Leader is known, while on visits to remote locations within the DPRK (ballistic missile tests etc), to be accompanied by a military detail with a portable toilet for his exclusive (and reportedly not infrequent) use.

Doing The Daily Duty (by Cristina “Krydy” Guggeri); clockwise from top left: Vladimir Putin; b 1952; president or prime minister of Russia since 1999), Silvio Berlusconi (1936-2023; prime minister of Italy 1994-1995, 2001-2006 & 2008-2011), Barack Obama (b 1961; US president 2009-2017), Kim Jong-un (Kim III, b 1982; Supreme Leader of DPRK (North Korea) since 2011), Francis (b 1936; pope since 2013) and Benjamin Netanyahu (b 1949; Israeli prime minister 1996-1999, 2009-2021 and since 2022).

Digital artist Cristina “Krydy” Guggeri in 2015 had a viral hit with her depictions of famous (and infamous) world leaders sitting on toilets.  Her “political pooping” project which she called “The Daily Duty” might be of help to those undergoing CBT for parcopresis, one of the recommended techniques being to “visualise a famous person they admire” in such circumstances.  Although not a clinical recommendation, presumably those suffering constipation could adopt the same therapy by visualizing a politician who “gives them the shits”.  That list might be long.

Still, the DPRK’s late and lamented Dear Leader aside, “almost everybody poops” and one intriguing recommendation for a CBT session is for a patient to visualise some famous person they particularly admire, sitting on the toilet, mid-poop.  Different patients obviously will admire a variety of celebrities so it’s a wholly subjective call although, noting the pop-culture zeitgeist, the most common current illustrative recommendation seems to be summon an image of the singer Taylor Swift (b 1989), an honor on which Ms Swift seems not to have commented.  Other practical tips include (1) carry a small air purifier or sanitizing spray to use in a public facility; depending on one’s diet and physiology, it will be necessary variously to spray pre-poop, mid-poop or post-poop, (2) line the inside of the toilet bowl with toilet paper; this will help absorb some of the sound and (3) flush several times while pooping; this will disguise the sound and reduce the smell (in Japan, this has been integrated into some public facilities by having a piped-music system play “waterfall sounds” at sufficient volume to disguise the activity of all but the most enthusiastic poopers).  Water management and conservation is now a matter of sometimes critical importance in cities so the piped sounds of splashing might become more common, the authorities unlikely much to welcome suggestions folk adopt the “multi-flush” strategy.