Chapter 6 suggests that the relevance-theory notion of cognitive effect be supplemented with the new notion of affective effect. We propose two different types of affective effect: primary affective effects, which typically act as input to inferential processes, and secondary affective effects, which are typically the output of inferential processes. Primary affective effects come in two flavours: anticipatory effects and transfer effects. The first of these are those effects which prepare an individual for a course of action; the latter are communicative, and inextricably linked with the interpretation of natural codes, inherently communicative behaviours which are ‘natural’ in the sense of Grice. In the case of secondary affective effects, propositional descriptions give rise to affective effects which rest on the imaginative abilities of the hearer/reader. This happens typically with literature and poetry. Emotions, we argue, appear to be a central contributor to persuasion, and we suggest this is so because of the special relationship that exists between affective and cognitive effects within the domain of achieving relevance.

Chapter 8 foregrounds the ethics and politics of the second person in ‘postcolonial’ writing, addressing the use of ‘you’ in yet two other genres, that of the essay in Jamaica Kincaid’s A Small Place (1988) and that of the short story with Chimamanda Ngozi Adichie’s ‘The Thing Around Your Neck’ published in an eponymous collection in 2009. Kincaid and Adichie use two different techniques to have the reader reflect on her own beliefs and prejudices through a rhetoric of contrast. Kincaid targets specific readers (‘you the tourist’) as representative of the white western tourists who fly every day to her native island Antigua to get away from their daily burden. She thus reduces the reference of ‘you’ to a specific membership category she stigmatises in her very powerful interpellation of the self-centred tourists, denouncing the tourist industry her native island Antigua is subjected to. Whilst Kincaid uses direct forceful address, Adichie chooses a You type that brings the reader to align with the character’s perspective in a more indirect yet as forceful way that the pragma-linguistic analysis of the short story will precisely display.