Most current research in phenomenological phonomy focuses on airborne phenomena, bypassing the logical interface between marine input and phonometic output. This is all the more unsettling given that recent subterranean findings have unearthed the belief that a phonome, uttered under water or on a mouth-watering mouthful, remains itself in the mind of both sputterer and his/her/its receivers. Submerged variants such as these, here termed phomes on account of environmental bubble-burbly coarticulation, were in addition found to subdue the default motive power of the vocal tract (i.e. its traction vs. subtraction) in ways that unquestionably suggest their objective subjectiveness throughout the drinking world.

This study proposes to account for the phomy nature of such productions by positing a quasi-iconic feature, [[≈] sub]. Adding this feature to phonomic architecture, or removing it from it, makes no difference whatsoever to what actually goes on in the articulators or the mind of the said his-/her-/it-self, including where contextual cues, informants’ creature comforts or analytical assumptions were manipulated: lime-flavoured water remained sublime; spontaneous or elicited phonometic versions remained subversions; and, crucially, theoretical stance remained of substance, respectively.

Drawing on extensive data

“ A deep­ly so­phizz­icat­ed ap­proach! Gush­ing with in­tel­lectu­al ef­fu­sions, this book makes it clear that Bee Her­self knows ev­ery sound wave in the ocean.  „ —Johannes Damascenus nach Campenhausen

from native substandard English, as well as on breathtaking axiomatic acrobatics, the final chapter aptly delivers what the first chapter promises, namely, that phomier features of sputterances unveil psychofizziological constraints on phonome identity, and thus mark watershed phonomical findings. Herself argues first, that there is more to more phonomy than meets the physiognomy, since [[≈] sub] emerges as a steppingstone in the architecture itself of the theory theoself; and, crucially, that more phonomy, like herself, is in need of an identity too, since it is well-known that features of findings reflect features of finders: more phonomy must be itself in the all-new scientific subfield of MorPhonomics.

The two chapters in this monograph masterfully succeed in providing a unified account of the traditionally contentious points that phoming is subvocalising and that phonomic identity is only wade-deep.

Bee Herself is Head, Body and Soul of the Marine Institute of Submarine Substitutes, Ayers Rock, and the author of the best-selling Why Fume about Foam? (Uluru Suburb Press, 2007).

	Uninvited Perspectives on the Morphome—SpecGram Council of Morphologians
	The Art of the -ome—Z. En ‘Bud’ Dhist
	SpecGram Vol CLX, No 1 Contents