Kammback

Kammback (pronounced cam-bak)

A motif in automotive styling (originally dictated by wind tunnel findings during research into aerodynamic properties) in which rear of the car slopes downwards before being abruptly cut off to terminate in a vertical or near-vertical surface.  The things are known also as the Kamm tail (K-tail).

1950s (the actual design first appearing in 1938): The construct was Kamm + back.  The surname Kamm (related to Kamp) was of Germanic or Jewish (Ashkenazic) origin and translates literally from the German as “comb”.  The German comb was from the Middle High German kamb, kambe, kam & kamme and the Yiddish kam (comb).  Genealogists conclude Kamm was probably an metonymic occupational surname for someone who either made or sold combs, a common tool used for grooming or for textile work such as carding or combing wool.  There’s also the possibility the name of some Kamm clans could have been of topographic origin because in German, Kamm can also mean “ridge” or “crest” of a hill, mountain or some other elevation; it could thus have referred to someone who lived near such a geographical feature.  Less likely is that some arose from nicknames based on physical features or personal characteristics with Kamm used to describe someone with hair resembling a comb or someone with a sharp or distinctive personality.  The surname emerged in the Middle Ages, a time when hereditary family names were becoming more common in German-speaking regions and in addition to the presence in Germany, exists at various scale in areas with a historic patter of German migration (notably the north-eastern US and South Australia.

Back was from the Middle English bak, from the Old English bæc, from the Proto-West Germanic bak, from the Proto-Germanic bakam & baką which may be related to the primitive Indo-European beg- (to bend).  In other European languages there was also the Middle Low German bak (back), from the Old Saxon bak, the West Frisian bekling (chair back), the Old High German bah and the Swedish and Norwegian bak; there are no documented connections outside the Germanic and in other modern Germanic languages the cognates mostly have been ousted in this sense by words akin to Modern English ridge such as Danish ryg and the German Rücken.  At one time, many Indo-European languages may have distinguished the horizontal back of an animal or geographic formation such as a mountain range from the upright back of a human while in some cases a modern word for "back" may come from a word related to “spine” such as the Italian schiena or Russian spina or “shoulder”, the examples including the Spanish espalda & Polish plecy.

Tail was from the Middle English tail, tayl & teil (hindmost part of an animal), from the Old English tægl & tægel (tail), from the Proto-Germanic taglaz & taglą (hair, fibre; hair of a tail) (source also of the Old High German zagal, the German Zagel (tail), the dialectal German Zagel (penis), the Old Norse tagl (horse's tail) and the Gothic tagl (hair), from the primitive Indo-European doklos, from a suffixed form of the roots dok & dek- (something long and thin (referring to such things as fringe, lock of hair, horsetail & to tear, fray, shred)), source also of the Old Irish dual (lock of hair) and the Sanskrit dasah (fringe, wick).  It was cognate with the Scots tail (tail), the Dutch teil (tail, haulm, blade), the Low German Tagel (twisted scourge, whip of thongs and ropes; end of a rope), the dialectal Danish tavl (hair of the tail), the Swedish tagel (hair of the tail, horsehair), the Norwegian tagl (tail), the Icelandic tagl (tail, horsetail, ponytail), and the Gothic tagl (hair). In some senses, development appears to have been by a generalization of the usual opposition between head and tail.  The Oxford English Dictionary (OED) suggest the primary sense, at least among the Germanic tongues, seems to have been "hairy tail," or just "tuft of hair," but already in Old English the word was applied to the hairless "tails" of worms, bees etc.  The alternative suggestion is that the notion common to all is that of the "long, slender shape."  It served as an adjective from the 1670s.  A long obsolete Old English word for tail was steort.  Kammback is a noun; the noun plural is kammbacks.  No lexicographer seems to have listed Kammbackesque, Kammbacklike or Kammbackish as standard adjectives but, given the extent of the deviances from Professor Kamm's original which are still labelled as “Kammbacks”, they might be useful forms.  Who wouldn't want to be able to use terms like the comparative “more Kammbackish” and the superlative “most Kammbackish”?

Some notable Kammbacks

The Kammback (also known as the Kamm tail) was named after German engineer & aerodynamicist Professor Wunibald Kamm (1893–1966) who during the 1930s pioneered the shape, his work assisted greatly by some chicanery within the Nazi military-industrial complex which enabled the FKFA (Forschungsinstituts für Kraftfahrwesen und Fahrzeugmotoren Stuttgart (Research Institute of Automotive Engineering and Vehicle Engines Stuttgart) institute he established in 1930s to secure funding to construct a full-sized wind tunnel equipped with a two-part steel treadmill in the floor and an 8.8 metre (350 inch) diameter axial fan, able to drive air at up to 400 km/h (250 mph).  What the two concentric floor turntables allowed was that as well as enabling turbulence to be studied from the side on the running steel belt, slip angles were also possible.   At the time, it was the most modern structure of its kind on the planet, the very existence of which was owed to the priority afforded by the Nazis to re-armament, especially the development of modern airframes, most of the money eventually coming from the Reichs-Luftfahrt-Ministerium (RLM, the State Air Ministry).

A classic Kammback on a 1970 Fiat 850 Coupé (1965-1973), one of the last of the generation of post-war mainstream rear-engined cars built in Western Europe.

While Professor’s Kamm’s work on automobile shapes continued, increasingly the facility became focused on military contracts, contributing to an extraordinary range of novel aircraft designs, some revolutionary and most of which would never reach production.  All of this ceased in July 1944 when the facility was severely damaged in air-raids by Royal Air Force (RAF) Bomber Command, a costly campaign in which one mission incurred a loss-ration of 20% and it wasn’t until the late 1940s that reconstruction began after it was acquired by Daimler-Benz AG which enlarged and modernized the machinery, the early fruits including the 300 SL (the W194, first gullwing coupé) which won the 1952 Le Mans 24 hour race and the W196R “streamliner” Grand Prix race cars which created such a sensation in 1954.  Although he wasn’t part of “Operation Paperclip” (the US project which secured (by various means including the military “smuggling” them into the country despite many being wanted by those investigating war crimes and crimes against humanity) Professor Kann was acknowledged as one of the world’s leading authorities on turbulence and between 1947-1953 was part of the team working at Wright-Patterson Air Force Base in Dayton, Ohio.  Some of what was undertaken then remains classified but it can be assumed it was all related to military projects and what would later become the space program.

The Kammback which really wasn't: 1976 Chevrolet Vega Kammback.

One often misunderstood aspect of the Kamm tail is that the aerodynamic benefits are realized only if the flat, vertical surface created was no more than about 50% of the total area of the vehicle (as viewed directly from the back).  That’s why even designs which don’t conform to the requirements are often casually referred to as “Kammbacks” and in the US, Chevrolet were cynically opportunistic when the Vega range (1970-1977) included what was nothing more than a two-door station wagon (estate), it was named “Vega Kammback”.  Actually, even the existence of the thing in the US was unusual because at that stage, General Motors (GM) really “didn’t like” small station wagons but many critics did agree the Kammback was the best looking of the Vega’s body-styles.

2023 Ford Mustang coupe (left) and convertible (right).  Three of the Mean Girls (2004) ensemble (Karen Smith (Amanda Seyfried (b 1985)), Gretchen Wieners (Lacey Chabert (b 1982)) & Cady Heron (Lindsay Lohan (b 1986)) in 2023 filmed a commercial for Pepsi Corporation, one of the props a 2023 Ford Mustang convertible.  So ubiquitous has the Kammback become that its now unnoticed (except in its absence), one quirk being that when convertibles are created from such a base, many of the aerodynamic advantages are lost, one reason why (all else being equal which is rarely the case) a convertible will tend to have slightly inferior performance and slightly higher fuel consumption.

The knowledge gained from aero-engine development during World War I (1914-1918) meant even the mainstream engines of the 1920s were developing much more power so the speeds of cars were rising.  Some intrepid types also took advantage of the number of huge, powerful aero-engines being sold cheaply as “war surplus”, installing them is powerboats and racing cars, resulting in some fast machines and not a few fatalities.  However, it became clear the law of diminishing returns applied as speeds rose because while an increase of 100 horsepower might make possible an increase in top speed from 100 to 120 mph, another 100 hp might yield only another 10 mph; wind resistance increasing too much for the power to overcome.  Thus the interest in aerodynamics, then usually called “streamlining” something which, coincidently, produced some memorable art deco designs buy the engineers were interested in higher speeds and lower fuel consumption for a given quantum of energy input (fuel consumption).

2014 Shelby American Cobra 427 50^th Anniversary Edition in aluminium (left) and 1964 Shelby Daytona Coupe (right).

The AC Shelby Cobra (1962-1967) was small, light and powerful which made it an instant success on the race tracks but, ruggedly handsome though it was, its aerodynamics limited the top speed and on the some fast, open European circuits it gave away as much as 50 km/h (30 mph) to less powerful but more streamlined machines.  More power wasn’t the solution but a new Kammback body was and the Daytona duly won its class in the 1965 World Sports Car Championship.  All used the 289 cubic in (4.7 litre) Ford Windsor V8 although one briefly was fitted with a 390 (6.5) FE V8 and the planned 427 (7.0) version (CSX3027, the so-called “Daytona Super Coupe”) was never completed until sold by Shelby some 17 years later in a “rummage sale”.  The Kammback Daytona was the work of US designer Pete Brock (b 1936) and in a macabre coincidence, his namesake, the Australian racing driver Peter Brock (1945–2006) was killed while competing (in retirement) in a replica Daytona Coupe during the now defunct Targa West (2005-2021) in Western Australia.

Before the Kammback, the state of the aerodynamic art was the airship-like "streamliner" which, although it probably didn't cross the engineers' minds, owed something to the train of a bride's gown.  1939 Lincoln Zephyr V12 Coupe (left) and 1937 Mercedes-Benz 540K (W29) Special Roadster (originally delivered to Mohammad Zahir Shah (1914–2007; the last King of Afghanistan 1933-1973) (right).

What soon became clear was that the shape of the dirigible (better known as the “airship” or “blimp”) was close to ideal and needed to be tweaked only by honing it into a “teardrop shape” with a rounded nose, extending to a long, tapered tail, a shape which in the 1930s caught the imagination of designers who rendered some memorable designs although the most famous were impractical and inefficient in terms of packaging, thus suitable only for the then small market niche which sought speed.  It was to try to gain the benefits of streamlining in a shape more suitable for mass production that Professor Kamm and others took their slide-rules to the wind tunnel began to experiment.  The solution which emerged was to terminate the lovely, long flowing roofline with an abrupt end at a surface which was either vertical or close to it, an unexpected benefit being an improvement in high-speed stability, obviating the need for (a usually central) stabilizing fin (a la an aircraft’s tail).  By 1938, BMW had produced a car with a Kammback and although World War II (1938-1945) interrupted development by the late 1940s the shape had begun to appear in showrooms and in little more than ten years it was common in specially bodied racing cars.  That didn’t mean the allure of the teardrop went away because the aerodynamicists (who now had both access to bigger wind tunnels in which higher speeds could be tested and the novelty of computers which could process previously unimaginable quantities of data) could still prove ultimate slipperiness could be attained only with the teardrop.

Pre-Kammback & non-Kammback.  Porsche 917LH (Langheck (long tail)) at Arnage, Le Mans 24 hour, 1969 (left) and 2020 McLaren Speedtail (right).  Such things are now possible.

It was this which convinced Porsche to use such a tail on their revolutionary 917 in 1969 and having encountered no stability issues on their test track, sent the car to the circuits where it proved as fast as expected.  Unfortunately, the size of the Porsche test facility limited the 917 to 290 km/h (180 mph) and when on the long straights of some European circuits when speeds exceeded 320 km/h, it was clear the thing was lethally unstable.  Although the drivers killed at the wheel of the early 917s didn’t die at such velocities, it was understood it would be only a matter of time so the rear bodywork was redesigned.  When in 2018 McLaren returned to the teardrop for the “Speedtail” (a car which sacrificed just about anything not mandated by law in the quest for top speed), it was able to achieve a safe (it’s a relative term) 400 km/h (250 mph) because advances in aerodynamics, computing, materials & hydraulics had made such things possible although the packaging inefficiencies remained, something not significant for the target market.

Retard

Retard (pronounced ri-tahrd and ree-tahrd (depending on definition))

(1) To make slow; delay the development or progress of (an action, process etc); hinder or impede (pronounced ri-tahrd).

(2) To be delayed (pronounced ri-tahrd).

(3) a slowing down, diminution, or hindrance, as in a machine (pronounced ri-tahrd).

(4) A contemptuous term of US origin (as a clipping of “mental retardation”) used to refer to a person who is cognitively impaired (now disparaging & offensive slang) (pronounced ree-tahrd).

(5) A person who is stupid, obtuse, or ineffective in some way (now disparaging & offensive slang) (pronounced ree-tahrd).

(6) In the tuning and maintenance of internal combustion engines, an adjustment made in the setting of the distributor so the spark for ignition in each combustion chamber is generated later in the cycle; the opposite procedure is “to advance” (pronounced ri-tahrd).

(7) In physics, as retarded, designating a parameter of an electromagnetic field which is adjusted to account for the finite speed of radiation (pronounced ri-tahr-did).

1480–1490: From the Old French retarder, from the Latin retardāre (to delay, protract), the construct being re- + tardāre (to loiter, to make slow; to be slow), from tardus (slow, sluggish, late, lingering; dull, stupid, slow-witted) (of unknown origin but one etymologist suggests it may have some relationship to the Etruscan), from which English gained tardy (late to arrive; slow in action).  The re- prefix is from the Middle English re-, from the circa 1200 Old French re-, from the Latin re- & red- (back; anew; again; against), from the primitive Indo-European wre & wret- (again), a metathetic alteration of wert- (to turn).  It displaced the native English ed- & eft-.  A hyphen is not normally included in words formed using this prefix, except when the absence of a hyphen would (1) make the meaning unclear, (2) when the word with which the prefix is combined begins with a capital letter, (3) when the word with which the is combined with begins with another “re”, (4) when the word with which the prefix is combined with begins with “e”, (5) when the word formed is identical in form to another word in which re- does not have any of the senses listed above.  As late as the early twentieth century, the dieresis was sometimes used instead of a hyphen (eg reemerge) but this is now rare except when demanded for historic authenticity or if there’s an attempt deliberately to affect the archaic.  Re- may (and has) been applied to almost any verb and previously irregular constructions appear regularly in informal use; the exception is all forms of “be” and the modal verbs (can, should etc).  Although it seems certain the origin of the Latin re- is the primitive Indo-European wre & wret- (which has a parallel in Umbrian re-), beyond that it’s uncertain and while it seems always to have conveyed the general sense of "back" or "backwards", there were instances where the precise was unclear and the prolific productivity in Classical Latin tended make things obscure.

Retard is a noun & verb (used with and without object), retardation is a noun, retarded & retardative are adjectives, retarding is a verb and retardingly an adverb.  The (now proscribed except in historic reference) noun plural was retards; retardings remaining acceptable when used in science and engineering.  Words related in meaning in these later contexts include choke off, crimp, decelerate, hamper, handicap, impede, lessen, arrest, baffle, balk, bog, brake, check, choke, clog, dawdle, decrease, defer, delay & detain.

The general sense of “delayed; delayed in development, hindered; impeded” dates from the seventeenth century and in the nineteenth was absorbed into the early technical language of psychology (having mental retardation; mentally deficient or underdeveloped) as a clipping of “mentally retarded”.  Later it was part of the formalized system of classification of intelligence, a retard defined as having an IQ below 70.  From the jargon of the profession it was picked up in twentieth century US colloquial use to describe (1) those then defined as mentally retarded, (2) those thought stupid and (3) a derogatory term to be applied as wished.  From the 1980s it came to be regarded as offensive, use disapproved of in polite society.

President John Kennedy (JFK, 1917–1963; US president 1961-1963) addressing the thirteenth annual convention luncheon of the National Association for Retarded Children (NARC). Mayflower Hotel, Washington DC, 24 October 1963.

The names used by the NARC are interesting in that it wasn’t until the 1990s that the word “retard” was removed.  The organization was called the National Association for Retarded Children (1953-1973), the National Association for Retarded Citizens (1973-1981) & the Association for Retarded Citizens of the United States (1981-1992) before assuming the name Arc of the United States in 1992.  While hardly illustrative of the euphemism treadmill familiar elsewhere, it does hint at the difficulties changes in the social acceptability of words can cause institutions with a corporate history or identity vested in a brand name.  The National Association for the Advancement of Colored People (NAACP), formed in 1909, retained the name even after “colored people” had been declared an unacceptable form and replaced by “people of color”, because the brand NAACP was thought too valuable to alter.  However, acronyms and abbreviations can continue even if divorced from their historic connections.  The oil company British Petroleum, in filings with the various regulatory agencies with which it deals, explained that it now positions itself as “an energy company” and expected to remain trading as BP, even if the day came when it no longer dealt with fossil fuels or petro-chemicals.

Retard is an interesting example of a word in English, the use of which is socially proscribed in one historical context (human intelligence) but still acceptable in other adaptations (engineering & physics).  In this it differs from other words which began as something uncontroversial and perhaps merely descriptive but which, for associative reasons, became “loaded terms” and socially (and even legislatively) proscribed, including, the other “n-word” (negro) which as late as the 1960s was socially respectable but now, even for historic purposes (such as the description of the specific stream of music once called the “negro spiritual” or the “negro league” in baseball) should probably be replaced with an uncontroversial substitute unless use is deemed essential by virtue of the context of use.  The conventions of use may yet evolve to the point reached with the original n-word word whereby it can in certain circumstances be acceptable for it to appear in print but which may never be spoken (unless by (at least some) persons of color).       

In less globalized times, the loading could be geographically (and thus circumstantially) specific; as late as the early 1980s, the television network in Australia which held the broadcast rights to international cricket could include in their televised promotions for a series involving teams from the West Indies, Pakistan & Australia a jingle with the phrase “the Windies, the Pakis, the Aussies”.  Although all three were ostensibly affectionate diminutives of the country names and thus neutral, linguistic equivalents, “Paki” in the United Kingdom had by the 1960s come to be regarded as an offensive, ethnic slur referencing either (1) an actual Pakistani, (2) a person of Pakistani descent, (3) anyone whose origins were perceived to be South Asian or even (4) any person of color (Africans, Arabs et al).  Actually, structural linguistic equivalency is never of necessity any sort of guide to what a word has come to denote, “Chinaman” thought pejorative while “Englishman” is not.

Definitely not a word for the twenty-first century unless one is a mechanic.  

Paki acquired the offensive connotations in the 1960s from a pattern of use in the UK, reinforced by the Fleet Street (and regional) tabloids which used the word to refer to subjects of former colonies, with no attempt to disguise that it was being done in a derogatory and racist manner.  Use persists in certain sections of the community although the popular press has been forced to adopt an uncharacteristic subtlety when making their point about people of color.  Interestingly, like some other disparaging slurs (n-word, slut), there has been noted a trend of reclamation, an adoption by second and third-generation youth of Pakistani extraction to claim exclusive use of the term, excluding all outsiders, even Indians, Bangladeshis and others at whom it was originally and offensively directed.

No such phenomenon appears to have happened with “retard”, presumably because it was not a word which (in the context of human intelligence or behavior) never had any history of enjoying a neutrality of meaning, either by definition or inference always being in the negative.  Despite that, when the medical profession introduced retard, retarded & retardation to their system of classifications, genuinely it was an attempt to de-stigmatize those once labeled idiots, imbeciles & morons, the early twentieth century classifications being:

Idiots: Those so defective that the mental development never exceeds that or a normal child of about two years.

Imbeciles: Those whose development is higher than that of an idiot, but whose intelligence does not exceed that of a normal child of about seven years.

Morons: Those whose mental development is above that of an imbecile, but does not exceed that of a normal child of about twelve years.

Retard was used in relation to developmental delay in 1895 and was introduced as an alternative to idiot, moron, and imbecile because at the time it wasn’t derogatory, being a familiar technical term from engineering and mathematics but the associative connection meant that it soon became an frequently heard insult.  Indeed, following the example of the n-word, there is in the United States much lobbying by interested groups socially to construct retard as “the r-word” and render its use just as unacceptable.

US legislation in 2010 required the terms "mental retardation" and" mentally retarded" be removed from federal records and replaced with "intellectual disability" and "individual with an intellectual disability", a change reflected in the publication in 2013 of the fifth edition of the American Psychiatric Association’s (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM-5).  The US National Institutes of Health, which took several years to scrub “retarded” and related terms from their archival material, recommend “intellectually and developmentally disabled”, the acronym IDD being one which rolls not easily from the tongue and is therefore less susceptible to entering the vernacular as an insult.  Other organizations focused on specific conditions have also made suggestions but constructions such as “differently-abled” do seem likely to attract derision and be applied as insults, as happened with “special”.

Ignition timing: Advancing and retarding the ignition

Intake, compression, power, exhaust: the four-stroke cycle.

In a four-stroke, internal combustion engine, the ignition timing is measured in degrees of a crankshaft rotation before top dead centre (BTDC).  To ensure the power stroke is at this point achieved, the spark plugs need to fire at the right time and this is achieved by advancing or retarding the timing of the engine.  Advancing the timing means the spark plugs fire earlier in the compression stroke, further from the TDC, meaning the fuel/air mixture in the combustion chamber doesn’t burn immediately.  The primary advantage in advancing the timing of ignition is an increase in top-end horsepower at the expense of some low end response.  Retarding the ignition causes the spark plug to fire later in the compression stroke which can reduce engine detonation, which is combustion inside the cylinders after the spark plug fires, commonly referred to as “engine knocking”.  In the early days of emission control systems, retardation was usually part of the process.  In the special (although now quite common) case of engines which use forced aspiration (by turbocharging or supercharging), retarding can be beneficial because it adjusts for the increased pressure, compensating for the denser fuel/air mixtures.

Valetudinarian

Valetudinarian (pronounced val-i-tood-n-air-ee-uhn or val-i-tyood-n-air-ee-uhn)

(1) An individual in chronically poor health; sickly; an invalid.

(2) An individual who believes themselves in chronically poor health.

(3) An individual obsessively or excessively concerned about their health or ailments; a hypochondriac.

(4) Of, relating to, or characterized by invalidism.

1695-1705: A learned borrowing from the Latin valētūdinārius, from valētūdō (state of health (good, bad or indifferent) (from valeō (to be strong) or valēre), the construct being valēre (be strong (from the primitive Indo-European root wal- (to be strong)) + -tudo (the abstract noun suffix).  The construct of valetudinarian was the now obsolete valetudinar(y) (Sickly, infirm) + -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.  Valetudinarian & valetudinary are nouns & adjectives and valetudinarianism & valetudinariness are nouns; the noun plural is valetudinarians.

The form valetudinarian (one who is constantly concerned with his own ailments) was in use by 1703 and developed from the adjective valetudinary, documented as early as the 1580s and is an example of the profligate ways of English being nothing new, hypochondriac (as both a noun & adjective) first noted in the 1570s, developed from the earlier noun hypochondria which was in use as early as the 1550s.  Like hypochondriacs, the valetudinarian is on a spectrum, the comparative “more valetudinarian”, the superlative “most valetudinarian”).  Hypochondria was from the Late Latin, from the Ancient Greek, the neuter plural of Greek ὑποχονδριακός (hupokhondriakós (pertaining to the upper abdomen which, in the medical orthodoxy of Antiquity, was the supposed seat of the condition of melancholy).  The construct of the anatomical area the ὑποχόνδριος (hupokhóndrios) (the region between the ribs and navel) was ὑπό (hupó) (below) + χόνδρος (khóndros) (cartilage).  One very modern derived form was the portmanteau noun cyberchondriac, the construct being cyber- (the prefix here used as a clipping of cyberspace thus denoting the Internet, or computers generally) +‎ (hypo)chondriac.  First documented in 1997, a cyberchondriac belongs to a subset of hypochondriacs who research their medical condition(s) (real, imagined and, more controversially, desired) using the internet, thus the popular label “Dr Google”.

Lindsay Lohan in hospital bed in I Know Who Killed Me (2007).

The most extreme (or skillful) of the valetudinarians & hypochondriacs often seek to spend as much time as possible admitted to hospital ignoring the warning of Evelyn Waugh (1903-1966) that “…the greatest danger to one in hospital is being murdered by the doctors.”, a phenomenon thought statistically under-recorded because the legal system is complicit in allowing an extraordinary definitional largess in the matter of “medical misadventure”.  “Medical misadventure” is a deliciously vague term which began as a way to add a scientific gloss to “act of God” but it has come to appear with such frequency in tort cases and coronial inquests that some doctors claim it now conveys the very implication of “responsibility” to profession originally concocted the phrase to avoid.  Some have suggested it be replaced with “death while under medical care” but the way the linguistic treadmill works means that this too would come similarly to be vested with the same hint of guilt.

The baron surprising gunners by arriving on a cannonball, an illustration from a nineteenth century edition of The Adventures of Baron Munchausen by Rudolf Erich Raspe.

At the margins, it can be hard to tell where hypochondria end and Munchausen syndrome begins.  Munchausen syndrome (also known as factitious disorder (FD)) is a rare type of mental disorder in which a person fakes illness, either by lying about their symptoms or using some trick or technique to make themselves appear unwell.  There are cases in the literature where the conditions have overlapped, patients, convinced they are suffering some ailment despite the contrary opinion of physicians, inducing the requisite symptoms by some means in order to be admitted to hospital.  There, they assume they’ll be more closely examined and their elusive conditioned diagnosed.

That, like hypochondria, can be understood as an aspect of the human condition but what is truly mysterious is what the American Psychiatric Association (APA) insist has been re-named factitious disorder in another (FDIA): Munchausen syndrome by proxy (MSbP).  It also once was called factitious disorder imposed on another FDOA) or factitious disorder by proxy (FDP) but most agree MSbP is best.  Its primary characteristic is the production or feigning of physical or psychological symptoms in another person (usually a young child or but the proxy subject can be an adult or even an animal) under the care of the person with the disorder. The symptoms are problems which are inexplicable, persistent or resistant to interventions which, based on clinical experience, would have worked, after adequate evaluation and treatment attempts.  MSbP is a variation of Munchausen syndrome (which the APA lists as factitious disorder (FD)), a mental disorder in which those affected feign (or sometimes even induce) disease, illness, injury, abuse, or psychological trauma to draw attention, sympathy, or reassurance to themselves.  The name is from the fictional character Baron Munchausen from the 1785 novel Baron Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia, by German author Rudolf Erich Raspe (1736-1794), a collection of extraordinary stories, based (loosely) on the tales told by the real-life Baron Hieronymus Karl Friedrich, Freiherr von Münchhausen (1720-1797).  The real baron was prone to quite some exaggeration in the tales of his travels but never went as far as Herr Raspe who included in his volume the eighteenth century baron flying to the moon.

So valetudinarian & hypochondriac are synonyms as use of the former evolved in English, losing the specific senses enjoyed in antiquity and that one became popular and one fell into obscurity is the way the language develops.  While it can be argued it might have been useful had the valetudinarian retained the sense “an individual in chronically poor health; sickly; an invalid”, there’s hardly a lack of words and phrases to describe that.  Although hypochondria & hypochondriac remain common in popular use (whereas valetudinarian and the related forms are used only by historians or as a literary device), in the lexicon of medicine & psychiatry they endured (officially) only until the early twenty-first century.  Hypochondria (historically known as hypochondriasis) did appear in the earlier editions of the APA’s Diagnostic and Statistical Manual of Mental Disorders (DSM), last used in the DSM-IV-TR (Text Revision, 2000) when Hypochondriasis listed as a somatoform (having no physical or organic cause) disorder but when the fifth edition (DSM-5) was released in 2013, the terms were replaced with two classifications said better to capture the range of symptoms associated with the condition:

Somatic Symptom Disorder (SSD): SSDs are characterized by one or more somatic (physical) symptoms that are distressing or result in significant disruption of daily life, causing the patient excessive numbers of troubling thoughts, feelings, or behaviors related to the somatic symptoms or associated health concerns.

Illness Anxiety Disorder (IAD): IADs are characterized by a preoccupation with having or acquiring a serious illness.  Individuals with IAD have minimal or no somatic symptoms but exhibit a high level of anxiety about health and frequently engage in excessive health-related behaviors which can include seemingly contradictory behavior patterns such as repeatedly & obsessively checking their bodies for symptoms of illness or exhibit maladaptive avoidance, the most common of which is not attending medical consultations.

The tenth edition of the World Health Organization’s (WHO) International Classification of Diseases (ICD-10, 1990) classified hypochondriasis as a mental and behavioral disorder (substantively unchanged in ICD-11, 2018) but the trend in recent decades has been for the DSM & ICD to align so there may in the future be changes to either.

Trends of use 1800-2019: Hypochondriac & Valetudinarian.

Impressionistically, the decline in use of valetudinarian is unsurprising and the twenty-first century resurgence probably reflects nothing more than proliferation of on-line dictionaries, etymology sites and lists of bizarre, archaic & unusual words.  Just as impressionistically, it seems remarkable hypochondriac appears more frequently to have appeared in print in throughout the nineteenth century than today.

Because of the way Google harvests data for their ngrams, they’re not literally a tracking of the use of a word in society but can be usefully indicative of certain trends, (although one is never quite sure which trend(s)), especially over decades.  As a record of actual aggregate use, ngrams are not wholly reliable because: (1) the sub-set of texts Google uses is slanted towards the scientific & academic and (2) the technical limitations imposed by the use of OCR (optical character recognition) when handling older texts of sometime dubious legibility (a process AI should improve).  Where numbers bounce around, this may reflect either: (1) peaks and troughs in use for some reason or (2) some quirk in the data harvested.

Sepia

Sepia (pronounced see-pee-uh)

(1) A dark brown pigment obtained from the ink-like secretion of various cuttlefish, often used with brush or pen in drawing.

(2) A drawing made with this pigment.

(3) A photograph or digital image in the tone recognized as “sepia”.

(4) A specific range of shades of brown, which tend to a reddish tincture.

(5) In photography, a print or photograph rendered within this color range, associated especially with early types such as calotype.  Now easily replicated in software, when using physical film stock it can be produced by first bleaching a print (after fixing), then immersing it for a short time in a solution of sodium sulphide or of alkaline thiourea.

(6) Any of several cuttlefish of the genus Sepia, producing a dark fluid used naturally for defense and, by humans, in various mixes of ink (mostly archaic but still used in technical literature).

1821: From the Italian seppia (cuttlefish), from the Latin sēpia, from the Ancient Greek σηπία (sēpía) (cuttlefish (and its secretion)), the origin of which is uncertain, the orthodox explanation being it was from the Ancient Greek σήπειν (sḗpein) (to make rotten) but there are etymologists who suggest while that’s “semantically possible” (on the basis of the “rotten:” smelling ink), it’s may be from a pre-Greek source.  The Greek sḗpein was related to σήψ (sḗps) (a kind of lizard; also a serpent, the bite of which was alleged to cause putrefaction”).  The Greek sēpía was akin to sepsis.  Sepia & sepian are nouns & adjectives and sepialike (also as sepia-like) is an adjectives; the noun plural is sepias.

The use of the word to describe the brown pigment extracted from the secretions of cuttlefish dates from the 1820s and the “brownish” meaning as applied to drawings was first recorded in English in 1863 (originally as “sepia drawing”); it was extended later to photography and film and it remains a motif in “retro” art and verisimilitude in film & television.  Reflecting the influence of Classical & Medieval Latin in the formation of zoological taxonomy, sepia had been used of the cuttlefish as early as the late-fourteenth century but today such use is rare.  The Latin was also the source of words in a number of languages including the Bulgarian се́пия (sépija), the Catalan sèpia, the Esperanto sepio, the Finnish seepia, the French sépia, the Galician sepia, the German Sepia, the Hungarian szépia, the Japanese: セピア色 (sepiairo), the Portuguese sépia, the Romanian sepia, the Russian се́пия (sépija), the Spanish sepia, the Swedish sepia, the Tagalog sepia and the Turkish sepia.  

The noun sepiolite (in mineralogy, a hydrated magnesium silicate, clay mineral used for carving into decorative articles and smoking pipes (known also as meerschaum), from the same etymological origin as sepia, picked up the name because of the resemblance to cuttlebone.  The -lite suffix (when used formally) was a representation of the Ancient Greek λίθος (líthos) (stone) and was appended to form the names of rocks and minerals.  In informal use (in commerce or humorously (and in politics often disparagingly)) it's a phonetic version of “light” in the sense of “smaller, lesser, reduced in weight”; it's used often for cut-down (sometimes free) versions of software, diet drinks etc.

Montage of Lindsay Lohan red-carpet stills, rendered in vintage calotype sepia.

As an adjective sepian (the comparative more sepian, the superlative most sepian) began life meaning (1) of or pertaining to the sepia (in the sense of the cuttlefish or its dark pigment) and (2) of the color (not of necessity produced with the derived ink).  In the post-war Unites States, sepia was adopted to refer to some of those with darker pigmentation of the skin, specifically applied to black Americans or African Americans.  The emergence was because in many parts of the US, use of most offensive of the N-words had become socially less acceptable in many circles and as this disapprobation trickled down the social spectrum, new slurs were created, sepian presumably attractive because of the history as a description of colors of paint, fabrics etc.  It was thus separated from ethnic identity and could thus be defended as wholly neutral in use.  As a term, it was neither sufficiently widely adopted nor endured in use for long enough for any pejorative association to become attached so it never became part of the linguistic treadmill.

Bridget Bardot (b 1934) in sepia, on set in Viva Maria! (1965).

As an artistic device, sepia is sometimes used in film.  In The Wizard of Oz (1939), one of the most famous uses was to contrast the bleak, sepia-toned scenes in Kansas with the vibrant (techni-) color in the Land of Oz.  A different effect was achieved in The Shape of Water (2017) (which is either a fantasy or science fiction (SF) film depending on who is writing the review), the sepia-toned sequences depicting the protagonist's memories and dreams.  Presumably, directors find sepia a useful device because black & white (the other obvious alternative) has through use become vested with connotations, gained not only from of the association with film noir.

Spook

Spook (pronounced spook)

(1) In informal use, a ghost; a specter; an apparition; hobgoblin.

(2) A person whose appearance or conduct is thought “ghost-like”.

(3) In philosophy, a metaphysical manifestation; an artificial distinction or construct.

(4) In slang, a ghostwriter (one who writes text (typically columns, autobiography, memoir) published under the name of another,

(5) In slang, an eccentric person (now rare).

(6) In disparaging and offensive slang, term of contempt used of people of color (historically African-Americans).

(7) In slang, a spy; one engaged in espionage.

(8) In slang, a psychiatrist (originally US but now more widespread under the influence of pop culture.

(9) In the slang of blackjack, a player who engages in “hole carding” by attempting to glimpse the dealer's hole card when the dealer checks under an ace or a 10 to see if a blackjack is present.

(10) In southern African slang any pale or colorless alcoholic spirit (often as “spook & diesel”).

(11) To haunt; inhabit or appear in or to as a ghost or spectre.

(12) To frighten; to scare (often as “spooked”).

(13) To become frightened or scared (often as “spooked”); applied sometimes to animals, especially thoroughbred horses.

1801: A coining of US English, from the Dutch spook (ghost), from the Middle Dutch spooc & spoocke (spook, ghost), from an uncertain Germanic source (the earliest known link being the Middle Low German spōk (ghost), others including the Middle Low German spôk & spûk (apparition, ghost), the Middle High German gespük (a haunting), the German Spuk (ghost, apparition, hobgoblin), the Danish spøg (joke) & spøge (to haunt), the Norwegian spjok (ghost, specter) and the Swedish spok (scarecrow) & spöke (ghost).  The noun spook in the sense of “spectre, apparition, ghost” seems first to have appeared in a comical dialect poem, credited to “an old Dutch man in Albany” and printed in Vermont and Boston newspapers which credited it to Springer's Weekly Oracle in New London, Connecticut.  The regional diversity in language was then greater and evolutions sometimes simultaneous and the word also appeared in US English around 1830 as spuke & shpook, at first in the German-settled regions of Pennsylvania, via Pennsylvania Dutch Gschpuck & Schpuck, from the German Spuk.  Spook & spooking are nouns & verbs, spooker & spookery are nouns, spooktacular is a noun & adjective, spooktacularly is an adverb, spooked is a verb & adjective, spookery is a noun, spooky, spookiest & spookish are adjectives; the noun plural is spooks.

Spooked: Lindsay Lohan in I Know Who Killed Me (2007).

A “spook show” (frightening display) was a term in use by 1880 and in the sense of a “popular exhibition of legerdemain, mentalism or staged necromancy” it was documented by 1910.  The spook house (abandoned house) was in use in the 1850s, the expression meaning “haunted house” emerging in the 1860s.  The meaning “superstition” had emerged by 1918, presumably an extension from the earlier sense of “a superstitious person”, documented around the turn of the century although it probably existed longer in oral use.  In the 1890s, “spookist” (described variously as “jocular” and “a less refined word” was used to refer to spiritualists and medium (and in those years there were a lot of them, their numbers spiking after World War I (1914-1918) when many wished to contact the dead.  Spooktacular (a pun on “spectacular” developed some time during World War II (1939- 1945).  The meaning “undercover agent” or “spy” dates from 1942 (inducing “spookhouse” (haunted house) to pick up the additional meaning “headquarters of an intelligence operation”, a place presided over by a “spookmaster” (“spymaster” the preferred modern term).  In the same era, in student slang a spook could be an unattractive girl or a quiet, diligent, introverted student (something like the modern “nerd” but without any sense of a focus of technology).

Senator Rebecca Ann Felton (1835–1930, left) and Senator Mitch McConnell (b 1942; US senator (Republican-Kentucky) since 1985; Senate Minority Leader since 2021).  The spooky resemblance between Senator Fulton (who in 1922 served for one day as a senator (Democratic-Georgia), appointed as a political manoeuvre) and Senator Mitch McConnell has led some to suggest he might be her reincarnated.  Some not so acquainted with history assumed the photograph of Senator Felton was Mitch McConnell in drag.

The sense of spook as “a black person” is listed by dictionaries of US slang as being documented by 1938 (the date of origin uncertain) and it seems to have begun in African-American (hep-cat) slang and it was not typically used with any sense of disparagement, nor was it thought in any way offensive word.   However, by 1945 it had picked up the derogatory racial sense of “black person”, defined specifically as “frightened negro” and it became a common slur in the post-war world, probably because that even by then the “N-word” was becoming less acceptable in polite society.  That was the “linguistic treadmill” in practice but spook had also deviated earlier: In 1939 it is attested as meaning “a white jazz musician” and is listed by some sources as a disparaging term for a white person by 1947.  Spook also developed a curious fork in military aviation although one probably unrelated to the informal pilot’s jargon of the 1930s, a “spook” a “novice pilot” of the type who “haunt the hangers”, hiring air-time and learning to fly for no obvious practical purpose other than the joy of flying.  During the early 1940s, the US Army Air Force (USAAF) began the recruitment of black athletes for training as pilots, conducted at the Tuskegee Institute in Alabama; the group (1940-1948) was known as the Tuskegee Airmen and during World War II (1939-1945) they gained a fine reputation when deployed as combat units.  However, they also suffered prejudice and when first posted to Europe were often called the “Spookwaffe” (a play on Luftwaffe, the name of the German air force) although as happened decades later with the by then infamous N-word, some black pilots “re-claimed” the name and used it as a self-referential term of pride.

Left to right: Spook, the Bacterian ambassador, Benzino Napaloni, Diggaditchie of Bacteria (a parody of Benito Mussolini), Adenoid Hynkel (Adolf Hitler) and Field Marshall Herring (Hermann Göring).  The satirical film The Great Dictator (1940) was very much a personal project, Charlie Chaplin (1889–1977) writing, producing & directing as well as staring as Adenoid Hynkel, Phooey of Tomainia.  The rather cadaverous looking Spook was the Bacterian ambassador.

Seventy years of spooks.

On 9 September 2019, the Royal Australian Mint released a 50 cent coin to commemorate the 70th anniversary of the Australian Security Intelligence Organisation (ASIO), the domestic spy agency (similiar in function to the UK's MI5 (Security Service)).  The issue was limited to 20,000 coins and each featured an encrypted code, similar in structure to those used by spooks during the Cold War.  At the time of the release, the Mint ran a competition inviting attempts to "solve the code", the prize the only proof commemorative coin in existence.  The competition was won by a fourteen year old who is apparently still at liberty, despite having proved him or herself a threat to national security.

Albert Einstein (1879-1955) gave the word a few memorable phrases but one of the most evocative is a calque of the German spukhafte Fernwirkung (rendered by Einstein as spukhafte Fernwirkungen (spooky actions at a distance) in a letter of 3 March 1947 to the physicist Max Born (1882–1970)).  Einstein used “spooky actions at a distance” to refer to one of the most challenging ideas from quantum mechanics: that two particles instantaneously may interact over a distance and that distance could be that between different sides of the universe (or if one can’t relate to the universe having “sides”, separated by trillions of miles.  Known as “quantum entanglement”, it differs radically from some of the other (more abstract) senses in which everything in the universe is happening “at the same time”.

This aspect of quantum mechanics has for a century-odd been one of the most contested but the 2022 Nobel Prize in Physics was awarded to three scientists who designed experiments which tested the theories, their results contradicting Einstein and discovering the seriously weird phenomenon of quantum teleportation.  Quantum entanglement is a process in which two or more quantum particles are in some way connected so any change in one causes a simultaneous change in the other, even if they are separated by vast distances.  Indeed those distances could stretch even to infinity.  Einstein was one of many physicists not convinced and he didn’t like the implications, calling the idea “spooky action at a distance” and preferred to think the particles contained certain hidden variables which had already predetermined their states.  This was neat and avoided the need for any teleportation.  However, what the 2022 Nobel Laureates found that the fabric of the universe should be visualized as a sea of wave-like particles that affect each other instantaneously, distance as conventionally measured being irrelevant.  What that seems to mean is that nothing has to travel between the two particles (the speed of light therefore not a limitation) because the two are in the same place and that place is the universe.  The English physicist Sir Arthur Eddington (1882–1944) was surely correct when he remarked “…not only is the universe queerer than we imagine, it is queerer than we can imagine.”