The ascent of cognitive science during the 1950s sparked a broad ‘cognitive shift’ across the humanities and social sciences. Since Weber (Reference Weber1996) first put forward the term ‘cognitive stylistics’, scholars have started integrating the research discoveries of cognitive science and cognitive linguistics into the examination of literary texts. Rooted in Cognitive Linguistics and Cognitive Grammar, English Stylistics: A Cognitive Grammar Approach introduces a novel method for analyzing literary or non-literary English texts, emphasizing the role of the mind in stylistic analysis and its significance in language learning and literary studies, enhancing students’ linguistic proficiency and analytical skills and fostering awareness of stylistic variations and their cognitive underpinnings.

The book is structured into eight chapters, each dedicated to a different cognitive theory applied to stylistics. The first two chapters provide an introduction to stylistics and its historical development, while the remaining six explore specific cognitive principles, including idealization, contextualization, configuration, experientialism, and conceptualization. These frameworks are used to examine how language structures influence and reflect cognitive processes. One of the book's major strengths is its thorough integration of Cognitive Grammar into stylistic analysis. Hamawand argues that stylistic choices are cognitively motivated, meaning that the way we structure language is shaped by mental processes. This approach goes beyond traditional stylistic analysis by linking linguistic patterns with cognitive mechanisms.

The book opens with a clear delineation of core concepts, distinguishing style as the unique linguistic habits of a writer from stylistics as the systematic study of how those habits shape meaning (Chapters 1~2). Hamawand emphasizes that stylistic choices – whether in word order, metaphor, or punctuation – are never arbitrary but rooted in cognitive mechanisms such as construal (the speaker's perspective) and idealization (mental models that structure reality). For instance, he contrasts sentences like ‘She arrived at the factory’ with ‘Her arrival at the factory’ to demonstrate how nominalization shifts focus from action to state, a concept central to Cognitive Grammar's view of language as symbolic and usage-based. This foundational discussion sets the stage for a historical overview of stylistics, tracing its evolution from classical rhetoric, which prioritized persuasive techniques, to modern cognitive approaches that prioritize mental processes. The chapter's comparative tables – such as those contrasting Literary Stylistics (focused on aesthetic impact) with Linguistic Stylistics (focused on formal patterns) – provide educators with a concise toolkit for curriculum design.

Central to the book's argument is the idea that language is inherently embodied, shaped by our physical interactions with the world. Hamawand dedicates Chapters 3~4 to exploring cognitive models that underpin this claim. The billiard-ball model, for example, conceptualizes events as chains of energy transfer between entities, explaining syntactic phenomena like transitivity and resultativity. In analyzing literary excerpts, such as Charles Dickens’ use of intransitive verbs (‘a heart that never hardens’) versus Roald Dahl's ditransitive structures (‘These books gave Matilda a hopeful message’), he reveals how grammatical choices encode ideological stances – the hidden values embedded in language. Specifically, verb constructions can subtly shape our perception of responsibility. The intransitive framing (‘hardens’) presents emotional transformation as a spontaneous internal process, subtly absolving societal influences, whereas the ditransitive syntax (‘gave . . . message’) constructs books as intentional agents transferring values, foregrounding their active role in shaping a child's worldview. Similarly, the stage model frames events as scenes observed by a conceptualizer, clarifying constructions like extraposition (‘To see the world takes courage’ vs. ‘It takes courage to see the world’). These models are not merely abstract; they are applied to real-world examples, demonstrating their utility in decoding texts ranging from Shakespearean drama to contemporary political speeches.

One of the book's most accessible sections examines deixis (Chapter 5) – the linguistic markers that anchor meaning to context. Hamawand categorizes deixis into personal (I, you), spatial (this, there), temporal (now, then), social (Your Majesty), and discourse (as mentioned earlier) types, illustrating how each relies on situational or textual context for interpretation. A standout example dissects the sentence ‘I am sorry I love you’ versus ‘I am sorry; I love you,’ where a semicolon transforms regret into a declaration of affection. Such analyses underscore the practical value of cognitive stylistics for language teachers, offering strategies to teach pragmatic nuances such as tone and intention. The discussion of modal verbs (must vs. have to) further demystifies subtle semantic differences, showing how obligation can originate internally (personal conviction) or externally (social norms). These insights align with growing interest in pedagogical approaches that integrate cognitive principles, making the book particularly relevant for educators designing courses on discourse analysis or critical reading.

Later chapters (Chapters 6~7) delve into advanced topics, such as the role of conceptual metaphors and image schemas in shaping meaning. Drawing on Lakoff and Johnson's (Reference Lakoff and Johnson1980) foundational work, Hamawand explains how metaphors like ‘Time is money’ structure abstract concepts through concrete domains, while image schemas like CONTAINER (evident in prepositions such as in and out) derive from bodily experiences of physical space. He extends this to literary analysis, examining how Shakespeare's Romeo and Juliet uses sensory metaphors to evoke emotional resonance. These explorations demonstrate the framework's versatility in bridging cognitive linguistics with textual interpretation.

The final chapter (Chapter 8) explores construal theory, arguing that meaning is inherently perspectival. A glass described as ‘half full’ versus ‘half empty’ reflects not just linguistic variation but divergent cognitive viewpoints. Hamawand applies this to narrative techniques like free indirect discourse in Jane Austen's Sense and Sensibility, where the blending of narrator and character voices shapes reader empathy. Such analyses highlight the book's interdisciplinary appeal, bridging linguistics and literary studies. Yet the emphasis on literary texts – while rich in illustrative value – leaves non-literary applications underexplored. A case study on media discourse or legal language, for instance, could have broadened the book's relevance for professionals analyzing persuasive strategies or ambiguity in public communication.

Despite its theoretical density, the book's pedagogical potential is undeniable. Each chapter concludes with study questions prompting readers to apply cognitive models to texts, fostering active learning. For example, one exercise challenges readers to identify force dynamics in proverbs like ‘You can lead a horse to water, but you can't make it drink,’ linking syntactic structures to underlying power relations. These exercises, coupled with examples from diverse genres, make the book a versatile resource for graduate seminars or professional workshops. However, the absence of visual aids – such as diagrams illustrating cognitive models – limits accessibility for visual learners. A glossary of terms like mental spaces or action chains would also alleviate the cognitive load for readers navigating complex terminology. Moreover, the book would be stronger if it included more interdisciplinary connections. Cognitive stylistics has applications beyond literary analysis, including digital communication, multimodal discourse, and artificial intelligence-driven language processing. Expanding the discussion to include these areas would increase the book's relevance for a wider audience. Critically, the book's focus on literary analysis, while intellectually satisfying, may narrow its appeal. A chapter (Chapter 7) dedicated to non-literary case studies – examining, say, the cognitive strategies behind viral social media posts or the use of image schemas in technical manuals – would have underscored the universality of its frameworks. Additionally, the underrepresentation of non-Western texts and linguistic traditions feels like a limitation in an increasingly globalized academic landscape. A comparative analysis of stylistic devices across languages, hinted at in the discussion of Arabic proverbs, could have enriched the book's cross-cultural relevance. Nevertheless, the book's greatest contribution lies in its methodological framework. By treating style as a window into cognition, Hamawand equips readers with tools to dissect texts beyond surface-level aesthetics. Language policymakers, for instance, might apply his models to analyze how legal documents encode authority through modal verbs (shall vs. may), while translators could leverage construal theory to navigate ambiguity in cross-cultural communication. Educators, meanwhile, will find actionable strategies for teaching students to ‘read between the lines’, identifying how metaphors or deictic shifts influence persuasion in political speeches or advertising.

In conclusion, English Stylistics: A Cognitive Grammar Approach is a thought-provoking and meticulously researched work that advances the field of stylistics by grounding it in cognitive science. While its theoretical complexity may pose challenges for newcomers, its interdisciplinary insights and practical exercises make it an indispensable resource for advanced students and scholars. For readers of English Today, the book not only demystifies the cognitive roots of linguistic style but also invites a reimagining of how we teach, analyze, and appreciate language in all its complexity. By framing style as a reflection of the mind's intricate dance with context and experience, Hamawand reminds us that every word choice – whether in a sonnet or a tweet – is a testament to the creativity and adaptability of human cognition.