Pineapple

Pineapple (pronounced pahy-nap-uhl)

(1) The edible, juicy, collective fruit of a tropical, bromeliaceous plant (Ananas comosus), native to South America, consisting of an inflorescence clustered around a fleshy axis and surmounted by a tuft of leaves; the flesh is juicy, sweet and usually yellow.

(2) The plant itself, having a short stem and rigid, spiny-margined, recurved leaves, the flesh housing ovoid in shape.

(3) In military slang, a fragmentation hand grenade (originally applied to those devices with a resemblance to the fruit, later applied more loosely).

(4) In slang, the Australian fifty dollar (Aus$50) note (dated and probably archaic).

(5) A web burrfish (Chilomycterus antillarum (or Chilomycterus geometricus)).

(6) In commercial paint production, a light yellow colour, reminiscent of the flesh of a pineapple (also called pineapple yellow on color charts).

(7) A hairstyle consisting of (1) a ponytail worn on top of the head, imitating the leaves of a pineapple or (2) the whole hair gathered and assembled at the top, there to sit like the leaves of a pineapple.

1350-1400: From the Middle English pinappel (pine cone (literally “pine apple” or “pine fruit”)), the conifer cone (strobilus (plural: strobili)), the seed-bearing organ of gymnosperm plants so named as a jocular comparison with fruit trees).  After being introduced to Europe, the fruit of the pineapple plant picked up the name because of the resemblance to pinecones, this use noted from the 1660s (pine cone adopted in the 1690s to replace pineapple in its original sense except in so regional dialects.  Elsewhere, the forms included the Middle Dutch and Dutch pijnappel, the Middle Low German pinappel, the Old High German pīnapful, the Middle High German pīnaphel, and the early Modern German pinapfel (all developed from the same notion of the “pine cone”.  Related too were the post-Classical Latin pomum pini, the Old French pume de pin, the Middle French and French pomme de pin and the Spanish piña.  To describe the pine-cone, Old English also used pinhnyte (pine nut) and pine-apple appears in some late fourteenth century biblical translations for “pomegranate”.  Pineapple is a noun; the noun plural is pineapples.

Ashley Ferh's Pineapple Crisp

Pineapple Crisp is made with chunks of fresh pineapple, topped with a brown sugar streusel baked until golden.  It is served usually with vanilla ice cream or thickened cream.  The classic recipe uses only pineapple but variations are possible, most adding either mango or orange although where a contrast in taste is desired, it nan be made as pineapple & rhubarb crisp.  Preparation time is 15 minutes; cooking time 45 minutes and as described in this recipe, it will serve six.

Ingredients

4 cups chopped fresh pineapple about one average pineapple

2 tablespoons plus ½ cup brown sugar

1 tablespoon corn starch

1/2 cup cold butter cubed

1 cup large oats

1/2 cup whole wheat flour for Gluten-Free: gluten-free all purpose flour or ground gluten-free oats

Instructions

(1) Preheat the oven to 350^o F (175^o C)

(2) Combine pineapple, 2 tablespoons brown sugar and corn starch. Place pineapple in an 8 x 8″ (200 x 200mm) baking pan, or in individual baking dishes if preferred.

(3) In a large bowl, combine butter, ½ cup brown sugar, oats and flour until combined.  The texture will be that of cookie dough (easily pressed and held together).  Crumble topping over the pineapple in baking dish and press down gently.

(4) Bake for 45 minutes or until bubbly around the edges and golden brown on top. Serve with vanilla ice cream or thickened cream as desired.

The pineapple hairstyle is distinctive and, once done, of low maintenance but the very wildness means it’s not suitable for all hair; those with perfectly straight hair will likely find it just too much trouble because while it can be done, it would demand a lot of product.  There are two variations, (1) a ponytail worn on top of the head, imitating the leaves of a pineapple (left) or (2) the whole hair gathered and assembled at the top, there to sit like the leaves of a pineapple (left).  The pineapple is ideal for those with curly hair and for others, is a less stylized, more naturalistic version of what hairdressers call “the spiky”.

The Mark II hand-grenade.

The military slang to describe hand grenades dates from World War I (1914-1918) and was coined because of the shape of the Mk II grenade (re-named Mk 2 in 1945 as the US military dropped all designations involving Roman numerals as part of the computerization project), a fragmentation-type anti-personnel hand grenade first issued to US armed forces in 1918.  In the Allied forces, it was standard issue anti-personnel device grenade until the end of World War II (1939-1945) and during the was replaced by the M26-series (M26/M61/M57), first used during the Korean War (1950-1953).  However, because supply contracts issued in 1944-1945 had envisaged the conflict with Japan lasting well into 1945, the production levels were such that the US stockpiles of the Mark 2 meant that the inventory wasn’t exhausted until late 1968, by which time the standard-issue item was the M33 series (M33/M67).  In the military way, the American slang was adopted by Japanese soldiers as パイナップル (painappuru).

Reasons to eat pineapple

A member of the bromeliad family, the pineapple is a genuine rarity in that it’s the only edible bromeliad which has survived into the modern era.  Traditionally, it’s eaten by cutting away the spiky casing, then slicing the flesh into bite-sized pieced but it’s actually a multiple fruit, one pineapple actually made up of dozens of individual flowerets that grow together to form the entire fruit.  Each scale on a pineapple is evidence of a separate flower and in a TikTok video which changed the life of some pineapple people, user Dillon Roberts showed how the flowerets can be pealed-off and eaten piece by pyramid-shaped piece, obviating any need to chop and slice.  Not all pineapples have a skim which permits the approach but for those which do, it’s most convenient.  Unlike many fruits, pineapples stop ripening the minute they are picked and no techniques of storage will make them further ripen and although there’s much obvious variation, color is relatively unimportant in assessing ripeness, pineapples needing to be chosen by smell; it the fragrance suggests something fresh, tropical and sweet, it will be a good fruit and, as a general principle, the more scales, the sweeter and juicier it will be.  For those who live in an accommodatingly tropical region, the top can be planted and in most cases it will grow.

Health food advocate Lindsay Lohan with purchased pineapple.

Pineapple has always been prized because of the taste and texture but there are genuine health benefits and it has long be valued for easing the symptoms of indigestion, arthritis and sinusitis, the juice also offering an anthelmintic effect which helps rid the body of intestinal worms.  Pineapple is high in manganese, a mineral critical to bone development and connective tissue, a cup of fresh pineapple enough to provide some 75% of the recommended daily intake and it’s especially helpful to older adults, the bones of whom tend to become brittle.  The essential component of pineapple is bromelain, a proteolytic (literally breaks down protein”) enzyme known to be both an aid in the digestive process and an effective anti-inflammatory, a daily ingestion purported to relieve the joint pain associated with osteoarthritis.  In the Fourth Reich, bromelain is approved as a post-injury medication because of the documented reduction in swelling.  Fresh pineapple is also a good source in Vitamin which, combined with the effect of the bromelain, reduces mucous in the throat which is why it’s a common component in hospital food because it reduces the volume of mucous after sinus and throat surgery.

There is evidence to suggest pineapple consumption can assist with troublesome sinuses and for those who wish to experiment, pineapple is one of the safer fruits because it’s low-risk for allergies.  More speculative is a possible role in reducing a propensity towards blood-clotting which would make pineapple a useful dietary addition for frequent fliers or others at heightened risk from deep-vein thrombosis (DVT) but it may be that any increase in the consumption of fresh fruit and vegetables would show similar benefits.  Also unproven is the efficacy of the old folk remedy which suggests pineapple juice is helpful in countering the symptoms of morning sickness.  Of late, there’s also the suggestion the effect is heightened if the juice is taken with a handful of nuts but at this stage that seems a new folk remedy added to the old.  Still, as long as one’s stomach has no great sensitivity to the acidic nature of the fruit, most can take it in small doses without any problems and, because the fresh juice discourages the growth of plaque, it’s makes for a healthier mouth.

Svelte

Svelte (pronounced svelt or sfelt)

(1) Slender, especially gracefully slender in figure; lithe.

(2) Suave, urbane elegant, sophisticated.

1817: Originally (and briefly) spelled svelt, from the seventeen century French svelte (slim, slender), from the Italian svelto (slim, slender (originally "pulled out, lengthened)), past participle of svellere (to pluck out or root out), from the Vulgar Latin exvellere (exvellitus), the construct being from ex + vellere (to pluck, stretch) + -tus (the past participle suffix).  The ex- prefix was from the Middle English, from words borrowed from the Middle French, from the Latin ex (out of, from), from the primitive Indo-European eǵ- & eǵs- (out).  It was cognate with the Ancient Greek ἐξ (ex) (out of, from), the Transalpine Gaulish ex- (out), the Old Irish ess- (out), the Old Church Slavonic изъ (izŭ) (out) & the Russian из (iz) (from, out of).  The “x” in “ex-“, sometimes is elided before certain constants, reduced to e- (eg ejaculate).  The Latin vellere (which English picked up as a learned borrowing) was the present active infinitive of vellō (I pluck out; I depilate; I pull or tear down), from the Proto-Italic welnō, from the primitive Indo-European wel-no-, a suffixed form of uelh- (to strike), source also of the Hittite ualh- (to hit, strike) and the Greek aliskomai (to be caught).  The Latin suffix –tus was from the Proto-Italic -tos, from the primitive Indo-European -tós (the suffix creating verbal adjectives) and may be compared to the Proto-Slavic –tъ and Proto-Germanic –daz & -taz.  It was used to form the past participle of verbs and adjectives having the sense "provided with".  Latin scholars caution the correct use of the –tus suffix is technically demanding with a myriad of rules to be followed and, in use, even the pronunciation used in Ecclesiastical Latin could vary.  Svelte is an adjective and svelteness is a noun; the comparative is svelter and the superlative sveltest although in practice both are rare and constructions (however unhappy) such as very svelte, most svelte are more common.  Thankfully, sveltesque & sveltish seem not to exist and if they do, they shouldn’t.

Svelte: Lindsay Lohan, Olympus Fashion Week, Bryant Park, Manhattan, February 2006.

Because svelte is intended as a compliment to be extended in admiration, the true synonyms include refined, delicate, graceful, lithe, slender, lean, lissom, slinky, slim, elegant, willowy, waif & sylph-like.  Although can equally (and technically correctly) apply to the same image, words like thin, scrawny and skinny can be used with a negative connotation.  Interestingly, in some Nordic languages, the word has the sense of variations of “thin, hunger, starvation” and is used of a two player card game in which the goal is to "starve" the opponent of all their cards.  Svelte is a word usually applied to people, most often women; while men can be called svelte, most would probably prefer another label.  However, it’s a descriptor which references the slender and the elegant so can be used anthropomorphically and there have been cars which have gone from frumpy to svelte:

The Pontiac Grand Prix: The first generation (1962–1964) (left), the second generation (1965–1968) (centre) and the third generation (1969–1972) (right).

The first Pontiac Grand Prix was among the outstanding designs which emerged from the General Motors (GM) styling studios in the 1960s, truly the corporation's golden era.  The first was built on a full-sized platform and was thus undeniably large but such was the competence of the styling team that the bulk was well-disguised and unless the are other objects in the frame to provide a point of reference, at first glance the sheer size of the thing is not obvious.  Its rather bulbous replacement fares not so well but Pontiac were aware the universe was shifting, their own smaller GTO and the emerging ecosystem of pony cars attracting the buyers wanting high performance while the full-size machines were beginning their path towards increasingly cosseted luxury.  Other full-sized machines however looked better while doing what the Grand Prix did and sales of the second generation weren’t encouraging.  Pontiac changed tack for 1969 and in the third generation produced another classic, a smaller car which relied not on gimmicks or embellishments but simple lines, the long hood working because it was the sole extravagance and one perfectly balanced by what would otherwise have seemed an excessively large C pillar.  It was a high-water mark for Pontiac.

Continentals: the Mark II (1956-1957) (left) and the Lincolns, the Mark III-V (1958-1960) (centre) and the fourth generation (1961-1969) (right).

Wanting to create a landmark in style which was as much a reaction to the excesses of the era as it was a homage to mid-century modernism, Ford actually created a separate division to produce the Continental Mark II and in its very sparseness the look succeeded but the realities of production-line economics doomed the project which lasted only two years.  Seemingly having decided that good taste didn’t sell, the Continental nameplate returned to the Lincoln line in 1958 and the Mark III-V models were big, some 227 inches (5.8 m) in length and weighing in at 2 ½ tons (2540 kg) or more.  Indisputably flamboyant with an intricate grille atop chrome dagmars, canted headlights partially encapsulated in semi-closed ovoid apertures and embellished with chrome spears & sweeping cove embossments, the only restraint seemed to be the surprisingly demure fins but with those Ford never succumbed to the lure of the macropterous which made so distinctive the cars from Chrysler and GM during the era.  Even at the time criticized as too big, too heavy and too bloated, the styling nevertheless represented one of the (several) logical conclusions of the trends which had for a decade been evolving but it too was a failure, lasting only three seasons.  After this there was nowhere to go but somewhere else.  In 1961 Lincoln went there, creating a classic shape which would remain in production, substantially unchanged until 1969.  Remembered now for being the car in which President Kennedy was shot, for the suicide doors, and the soon to be unique four-door convertible coachwork, it was a masterpiece of modern industrial design which managed to combine severe lines without any harshness in the shape and was influential, other manufacturers essentially borrowing the motif although none did it better than the original.  Managing the almost impossible, to be big yet svelte, Lincoln in the six decades since produced nothing as good and much that was worse.

The Mark IX was the final iteration of a decade-long line (the Mark VII, VIII & IX, 1951-1961) with a competition history which belied the stately appearance (left) while the Jaguar Mark X (1961-1970 and named 420G after 1967) never realized its potential because the factory refused to fit the Daimler V8 and its own V12 wasn’t ready until after production ended (centre) and the XJ (1968-1986) which, especially when fitted with the V12, may have been the best car in the world (right).

Svelte can be a relative term.  Although the Jaguar Mark X was soon criticized as being too big and bloated, upon release in 1961 it was thought sleek and modern because the car it replaced was stylistically something of an upright relic with its lines so obviously owing much to the pre-war era.  That warmth of feeling soon passed and it was too big (especially the width) for the home market while in the US where it could have been a great success if fitted with a V8 and air-conditioning as good as a Cadillac, it was neglected because the superior quality of the brakes and suspension meant little under US conditions.  The styling however did however provide a model for the slimmed-down XJ, released to acclaim in 1968 and greater adulation still when the V12 arrived in 1972.  The svelte lines aged well, especially on the short-lived two-door, and looked elegant still in 1986 when replaced.  However, the shape meant the hunter became captured by the game, Jaguar reprising the lines until 2009 although none matched the purity of the original.  The 420G was the last of the "big" Jags.

Dodge Chargers: 1966 (left) and 1968 (right).

The 1966 Charger featured one of the best interiors of the era, including a full-length centre console and rear-seats with a thoughtful design which folded flat, providing a usefully large storage area.  The highlight however was probably the dashboard featuring Chrysler’s intriguing electroluminescent instruments which, rather than being lit with bulbs, deployed a phenomenon in which a material emits light in response to an electric field; the ethereal glow much admired.  Inside was however the best place to be because it meant one didn’t have to look at the thing; it was chunky and slab-sided and while it could be said another fastback of the time (the truly ghastly Rambler (later AMC) Marlin) was worse, that really was damming with faint praise.  Still, on the NASCAR ovals the shape proved surprisingly slippery and when paired with Chrysler’s Hemi V8, it proved a trophy winner.  The welcome restyle of 1968 was transformative and seldom has there been such an overnight improvement.  Ironically though, the svelte lines proved not especially aerodynamic and on the racetrack, the sleek-looking Charger suffered in a way its frumpy predecessor had not, the stylishly recessed grill and the tunnel-effect used around the rear window compromising the aerodynamics and therefore the speed.  It took Dodge two attempts to solve the problem: The Charger 500 flattened both the grill and the rear windows but the instability remained so engineers (conveniently available from Chrysler’s recently shuttered missile division) fashioned a radical nosecone and a high rear wing which served well for the two seasons the modifications were permitted to be homologated for use on the Dodge Daytona in competition.  Ford suffered a similar fate in 1970: the new Torino looked better but the 1969 shape proved more efficient so the racers stuck with last year’s model until a solution was found.

Ovoid

Ovoid (pronounced oh-void)

(1) Egg-shaped (an oval, but more tapered at one end).

(2) In botany (of a fruit or similar part), egg-shaped with the broader end at the base.

1817: From the French ovoïde, from the New Latin ōvoīdēs, the construct being the Classical Latin ōvum (egg) + the Ancient Greek -oeidēs (like) (akin to -oid).  The Latin ōvum (egg) is thought derived from the primitive Indo-European awi (bird) which may be the source of wyo & yyo, the primitive Indo-European words for "egg" although this is speculative.  The hypothetical “evidence” for its existence is provided by the Sanskrit vih, the Avestan vish, the Latin avis (bird), the Ancient Greek aietos (eagle), the Old Church Slavonic aja, the Russian jajco, the Breton ui, the Welsh wy, the Old Norse egg, the Old High German ei and the Gothic ada, all meaning "egg."  The –oid suffix was from the Ancient Greek -ειδής (-eidḗs) & -οειδής (-oeidḗs) (the ο being the last vowel of the stem to which the suffix is attached) from εἶδος (eîdos) (form; like; likeness) and was added to indicate the meanings “tending towards”, “similar to” or “like”).  Ovoid is a noun & adjective and ovoidal is an adjective; the noun plural is ovoids.  The adjective ovoidish doesn't exist and never should because something "ovoidish" is actually an ovoid.  Subovoid (apparently never as sub-ovoid) is a technical word used in mathematics and some disciplines of engineering.

Headlights and Politics

Mercedes-Benz 300 SL roadster built for European sale (left) and one with the less elegant assembly (right) used in the US market to accommodate the sealed-beam headlights.

First seen two years earlier on the 300SL roadster (W198), the Lichteinheiten (light units) on the 1959 Mercedes-Benz 220 SE (W111) and the subsequent 1961 300SE (W112) were much admired, both for their elegance and quality of luminescence.  Ovoid in shape, they were first nicknamed “tombstone” but soon came to be called “European” because they were banned in the US, the saga illuminating how crony capitalism works in the West.  The US headlight manufacturers enjoyed a cosy relationship with the legislators who in the 1940s had passed laws decreeing cars sold in the US had to have two 7 inch sealed beam lights and a maximum of two auxiliary 5 ¾ inch units.  In 1957, the car and headlight manufacturers prevailed on the politicians additionally to permit four 5 ¾ inch sealed beam lights per vehicle, a profitable arrangement which pleased the industry but deprived US buyers of the much superior European lights which not only delivered better luminosity but, not being sealed units, required only the bulb to be replaced rather than the whole thing.  The US manufacturers had no interest in investing to re-tool their factories to produce something which would need to be replaced less often so arranged for the politicians to ban the newer product, thus for decades denying American drivers headlights of the quality enjoyed in Europe and much of the planet.  It wouldn't be until the 1970s when, needing a way to lower the hood (bonnet) lines to improve aerodynamic efficiency in the quest for lower fuel consumption to meet new standards, that the laws were changed.

Mercedes-Benz 280 SE 3.5 Coupés (W111), the "tombstone" or "European" headlight assemblies to the left, the version developed for the US market to the right.  Such was the international admiration for the "Californian" interpretation rapidly it became a global option.   

That is how politics in the US operates.  It’s in the congresses, state and federal, where things are actually hammered out and deals done.  Most of the world fixates on presidential politics because of the drama and the cults of personality but domestically, it’s in the legislatures that lobbyists do their work and that’s where they make "campaign contributions" in exchange for getting the legislation which most benefits the corporations employing them.  “The business of America is business” is how former president Calvin Coolidge (1872–1933; US president 1923-1929) summed it up.  It’s not wholly dissimilar to the development of the English constitution; it took centuries to evolve but essentially, in exchange for getting the money he needed to fight his wars, the King of England approved the laws the politicians wished to pass.  In the US, the dynamic relationship is between politicians & corporations, mediated by the lobbyists and between the two sides, there's much interchanging of personnel which is why the system is sometimes described by political scientists as "incestuous".

Unfortunately, US regulations proved disfiguring as well as dimming because the simple solution of integrating the turn-signal indicators (the "flashers" to many) and side-marker lamps into the assembly didn’t comply.  As explained by automotive lighting expert Daniel Stern, the lit area was probably compliant (the rules specified a minimum 3½ square inches (22.5 cm²) but the intensity and inboard visibility angles would have been inadequate.  A turn signal with its centre 4 inches (100 mm) or closer to the low-beam lamp had to provide at least 500 candela on-axis, which would be close to impossible for a lamp with this construction; turn signals more than 4 inches from the low-beam needed only to provide at least 200 candela.  The rest of the world (RoW) cars (left) were supplied with the original elegant design while for the US market some rather ugly after-market lamps were crudely added to the gaps next to the grill (centre).  Late in the 1960s, the aesthetics were improved somewhat by using a larger unit (right) which emulated the look of a fog-lamp, the US cars by then also suffering the addition of side-marker lights front & rear.

A variation on the ovoid theme was revealed when the 600 Grosser (W100) was announced in 1963 (left).  The solution, designed to comply with US legislation (right) was more unhappy even that that used on the 300 SL and called to mind a high-school project which deservedly would have been graded "F".

The design created for the US market W111s adopted a vertically stacked arrangement with four 5 ¾ inch sealed beams which, ironically, was much to influence US designers in the decade to come.  When the 300 SEL 6.3 was introduced in 1967, Europeans were offered the choice of either style, four of the newer quartz-halogen bulbs generating even more light than the ovoid system.  Europeans, who nicknamed the stacked lights “Californian” (California apparently the most American thing imaginable), came to admire the style, prompting Mercedes-Benz to offer buyers the option world-wide.  Unfortunately, this was Mercedes-Benz only ascetically successful adaption for the US market, most of the others being ghastly.  In the mid-1960s, the factory again used “California” when the W113 (the 230/250/280 SL "pagoda" (1963-1971)) was for some years offered with just a hard-top, presumably because, viewed from often gloomy Stuttgart, California must have seemed permanently sunny.  The W111’s headlamps spread to other models but the W113 hard-top only configuration remained a one-off.  It was one of only three occasions a production SL would be offered without a folding top and one of two with only a fixed roof.

Lindsay Lohan in sunglasses with lens in an irregular ovoid.  The irregular ovoid is a popular shape for the lens of spectacles of all kinds, simply because it conforms so well to the lacuna defined by the nose and eye socket.

The four common descriptors in diagnostic imaging (left to right), the round, the oval the ovoidesque irregular oval and the irregular.

Reflecting the frequency with which they occur, in radiology and other forms of diagnostic imaging, the three classic shapes of “masses of interest” are round, oval and irregular but a frequent descriptor of those which often resemble ovoids is the “irregular oval” used (a little misleadingly for non-clinicians) to describe everything which tends towards being an oval but is outside the defined tolerance.  The rationale in adding an adjectival “irregular” to “oval” seems to be to reflect the wide variation in the shapes, the only common characteristic being that to fit the description it must be vaguely ovoid in shape, distinguishing it not only from a round or oval but also from an irregular (ie everything else).

Squoval

Squoval (pronounced sqwoh-vuhl)

(1) In cosmetology, a description applied mostly to describe the shape of certain fingernails and faces; essentially an oblong (a rectangle with partially ovoid shorter sides).

(2) In commerce, a trademark of the bicycle company Cervélo, describing the cross sectional shape of the downtube used in frame construction.

1984: A portmanteau word, sq(uare)- + oval.  Square was from the Middle English square, sqware & squyre from the Old French esquarre & esquerre, (which survives in modern French as équerre), from the Vulgar Latin exquadra, derived from the Latin quadro, from quadrus (square), from quattuor (four).  Oval was from the Late Latin ovalis, from ovum (egg); it was cognate with the French and Italian ovale and the Dutch ovaal.  Used both as noun and adjective, coinage is credited to Paula Gilmore, a noted manicurist (nail technician) and owner of Tips Nail Salon in San Mateo, California.  Squoval is a noun & verb, squovaled & squovaled are verbs and squovallike is an adjective; the noun plural is squovals.

Art of the fingernail

A pleasing creation, sqoval is misleading because it’s used to reference a shape which is actually a rectangle with the shorter sides defined by curves which tend to the semi-circular.  In geometry, such a shape is called a stadium, discorectangle or an obround.  It’s not to be confused with a square with rounded corners which, despite frequent use, is neither a "quartic" nor a "sqound".  A quartic is “an algebraic equation or function of the fourth degree or a curve describing such an equation or function” and sqound (a portmanteau word, the construct being sq(uare) + (r)ound is the ultimate niche word, the only known use by collectors of C4 Chevrolet Corvettes (1984-1996) describing the shift in 1990 from round to "square with rounded corners" taillights.  Mathematicians insist the correct word for a "square with rounded corners" is "squircle" (in algebraic geometry "a closed quartic curve having properties intermediate between those of a square and a circle").  The construct of squircle is squ(are) +c(ircle).  Few etymologists (and certainly no lexicographers) appear to have listed sqound as a "real" word but it's of interest because it's a rare example of a word where a "q" is not followed by a "u"; such constructs do exist but usually in the cases where initialisms have become acronyms such as Qantas (Queensland and Northern Territory Aerial Services).  Such words do appear in English language texts but they tend to be foreign borrowings including (1) qat (or khat) (a plant native to East Africa and the Arabian Peninsula, often chewed for its stimulant effects, (2) qi (a term from Chinese philosophy referring to life force or energy), qibla (the direction Muslims face when praying, towards the Kaaba in Mecca and (4) qiviut (the soft under-wool of the musk-ox, valued when making warm clothing).  

Squoval is thus a commercial descriptor in the fingernail business rather than a precise geometric description.  The basic rectangle metaphor is important in fingernail shaping because manicurists borrow from art and architecture the golden ratio which suggests humans find most aesthetically pleasing, shapes with an aspect ratio of about 1.6:1 which, coincidentally, is the relationship between a kilometre and a mile.  Nails can be shaped beyond the nominally perfect 1.6:1 but tend either to be thought exaggerated or created purely for artistic display, often to create a large surface for designs.  Manicurists, certainly in the Instagram age, are an imaginative profession and there’s been a proliferation of terms to describe species.  However, within the fingernail family, there are eight basic genera, practitioners inventing or classifying species as they emerge.  To date, the lipstick is the only widely-used form which is asymmetric.

The classic oval is said to be a symmetrical ellipse where the curve of the tip exactly mirrors the curve of the cuticle but, in real-world conditions, the former usually only tends to the latter.  The shape is natural, flattering and adaptable to both long and short nails.

Long coffins.

A natural coffin demands long nails with the fragility that implies.  The nail needs to be sufficiently long so both sides can be filed to a tapered point something like a stiletto before the tip is squared-off.  Because of that, they’re often constructed with acrylics.  Coffin in this context is actually a modern appropriation to describe what was historically known as the ballerina, a descriptor some European fashion houses still prefer but the Instagram generation has moved on and like coffin.  Coffins are rare worn in the elongated form.

Square nails provide a shape which is less susceptible to damage than many but doesn’t suit all shapes.  It’s best adopted by those with a narrow nail bed because the flat tip creates an optical illusion of additional width, making nails appear wider than they are.  Rarely seen variations include the cut out (a twin-peaked effect), the lipstick (uniquely, with an asymmetric tip) and the trapeze or flare (where the metaphor is the bell-bottom trouser leg).

A statement shape, something of a triumph of style over functionally, the stiletto gains its dramatic effect from long and slender lines and can be shaped with either fully-tapered or partially square sides.  They’re vulnerable to damage, breaking when subjected to even slight impacts and almost never possible with natural growth.  True obsessives insist they should be worn only with stiletto heels and then only if the colors exactly match.

Squovals in Dior 999.

With straight sides and a curved top, the squoval, while not as dramatic as a coffin, is good, functional engineering because its softer edges are less prone to snagging and tearing than those of a square and break less the more more delicate almonds.  Technically, the squoval is just a species of the square but its popularity meant it came to be classified as its own genus.

Usually very long, the almond has an elongated shape and a tapered tip.  Even when applied to nails with a narrow bed, they’re inherently weak at the tip so most are constructed from acrylics.  It’s a style which attracts many variations on the theme, often tending to a truer emulation of the nut at which point some should probably be classified as pointed.

Realistically, pointed nails, certainly in their more extreme iterations (sometimes called mountain peaks, edges, arrow-heads, claws or talons), are more for short-term effect than anything permanent.  Best used with acrylics, the knife-like style can be a danger to the nail itself and any nearby skin or stockings.  Those contemplating intimacy with a women packing these should first ponder the implications.

Lindsay Lohan with rounds, 2006

Rounds are less a style than a detailing of the natural human shape.  Usually worn short and simple and rarely needing an acrylic overlay, it’s a classic look with the added benefit of durability and low maintenance.