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I’d usually say sus2 and add9 to show it’s instrad of, or as well as the 3rd.
Seriously: If you value it, take/fetch it yourself
There are several chord inversions that have both the second and the major 3rd in the same octave, for example this inversion of E9 popularised by T-Bone Walker.
D 12th fret D string, F# 11th fret G string, G# 9th fret B string, E 12th fret top E string.
So the chord tones are: b7th, 9th, maj 3rd and root, with a major second in the middle of the chord.
These tend to work better further up the neck, as intervals become less dissonant at higher pitches.
There are also plenty of lap steel steel tuning that have a tone interval in them as well, eg several of the common E13 variations, and the 6th tunings (A6th, C6th etc).
Bottom line: you can use the 9th / 2nd in the same octave, but you have to exercise some caution.
For example, play D9 like this x5455x
Does that sound extremely dissonant to you?
From a teaching point of view I teach it's a 9th because you've added it above the octave ... that's easy to grasp and also shows them where to put it
I really like semitone juxtapositions. On their own they're awful but in the context of chords they're usually stunningly good. The Cmaj7 a semitone apart is wonderful too (x35500 or x32500)