In literature, the word “reek” proves to be remarkably versatile, used both to describe literal odors and to evoke broader metaphorical commentary on decay and corruption. For example, Chekhov employs it in mundane, physical contexts—whether highlighting the overpowering odor of vodka ([1]) or the chaotic remnants of a morning routine ([2], [3])—while Stowe uses it almost as a marker of human exhaustion and disorganization ([4]). Meanwhile, Joyce’s work demonstrates the word’s capacity to conjure vivid sensory landscapes: from the earthy smell of horsepiss and spilled beer ([5], [6]) to hints of drugs and prohibition-era whisky ([7], [8], [9]). In contrast, authors such as Homer and Burns use “reek” in a more transformative manner—sometimes linking it with unexpectedly pleasant fragrances ([10], [11], [12])—whereas figures like Dante, Rousseau, and Nietzsche exploit its darker connotations to critique moral and social decay ([13], [14], [15], [16]). This varied usage underscores how “reek” can simultaneously adhere to its denotative sense of smell and serve as a potent metaphor for corruption or decay in diverse literary landscapes.