The term “concussion” in literature has been deployed in a variety of contexts, ranging from physical impact to metaphorical shock. Early usages, such as in Swift’s Gulliver’s Travels [1], set the stage by equating “concussion” with a jarring shock, a usage that subtly evolved over time. Authors like Joyce [2, 3] and Jefferson [4, 5] employed the term almost as a standalone declaration of impact, while H. G. Wells frequently used it to vividly capture both the audible and visceral effects of collisions—a ringing, staggering event that shakes characters and settings alike [6, 7, 8, 9, 10, 11, 12, 13]. In works like Stoker’s Dracula [14] and Hardy’s Far from the Madding Crowd [15], “concussion” becomes a marker of sudden disruption, echoing through the narrative with palpable force. Even in legal or forensic contexts, as seen in Gross’s Criminal Psychology [16] and in Verne’s technical descriptions [17], the word underscores both the physical and metaphorical reverberations of an impact, illustrating its versatility and enduring appeal in literature.