The term "alibi" in literature has evolved from its classical Latin roots—with its original sense echoing "elsewhere" as seen in [1]—to become a multifaceted device in narrative and dialogue. Authors like James Joyce and Agatha Christie employ the word both as a literal explanation of a character’s whereabouts in moments of suspense ([2], [3]), and as a device for irony or humor, as in Chekhov’s playful banter about an "idiotic alibi" ([4], [5], [6]). Meanwhile, its usage extends into more philosophical and rhetorical dimensions in writings by Tacitus and Montaigne, where the term is interwoven with discussions of morals and fate ([7], [8]). In detective fiction, characters either stumble upon or meticulously craft an alibi to navigate legal predicaments, a theme noted repeatedly in Christie’s works ([9], [10], [11], [12], [13]) and even touched upon by Holmes in Doyle’s classic investigation ([14]). Additionally, the term finds a place in the realm of criminal psychology, where minor misdeeds are confessed to establish cover for graver crimes ([15]). Overall, "alibi" is a prime example of how a single word can be adapted across genres—from humorous exchanges to critical plot mechanisms—enriching both character development and narrative intrigue.