The term “anathema” has been wielded with remarkable versatility in literature, serving as a potent curse, a marker of moral and social repudiation, and even a playful outburst. In some works, it is invoked with the fierce intensity of a denunciation—as seen in the incantatory curse against divorce in [1] and the resolute moral stand described in [2]. Authors like Hardy and Scott employ it to underscore bitter condemnation or tragic fate, as in [3] and [4], while Hawthorne and Chekhov illustrate its use to evoke an almost tangible aura of doom or disapproval in personal interactions ([5], [6], [7]). The word also makes curious appearances in unexpected contexts, such as its playful integration in sentences about coffee in [8] or its metaphorical application in political and social commentary in [9] and [10]. In these varied instances, “anathema” emerges not merely as an archaic sermonic term but as a multifaceted symbol—a malediction that both binds and rejects, reverberating with cultural, moral, and sometimes even humorous connotations.