Writing the 'Year's work in stylistics' is both enlightening and humbling. It is enlightening because it enables me to learn about the varied research that people have devoted time and effort to in the past year; it is also enlightening because some of that work falls off one's most immediate stylistics research radar and, thus, it is relatively easy to be unacquainted with it. It is humbling, first, because of the sheer amount and the quality of such work; but it is also humbling because it allows you to learn about the rich crossfertilisation between disciplines which most stylistics work is characterised by. In what follows I would like to share my own enlightening and humbling experience with those readers who, like me, want to learn about the abundant and varied work in stylistics in 2015. I review publications in cognate disciplines alongside those situated in the more familiar stylistics camp, and consider how the latter draw upon and expand on the former. This inter-connection can also be seen in the way I organise the following sections, which primarily has a hermeneutic function. As will be seen, some of the work described in the computer-assisted section could also be discussed under the multimodality heading, for instance, so I highlight this cross-fertilisation as much as I can. Finally, regular readers of Language and Literature will be aware of the following remark which I am, nevertheless, drawing attention to for the sake of the newcomers to the journal: the 'References' section does not list any of the articles published in this journal so that selfcitation does not have a negative effect on our impact factor. Readers are, however, strongly encouraged to check and, of course, cite these articles in their own work fully.The famous motto 'All for one and one for all' summarises the spirit of Alexandre Dumas's main characters in The Three Musketeers. If I am allowed a daring analogy, The Routledge Handbook of Stylistics (Burke, 2014) and The Cambridge Handbook of Stylistics (Stockwell and Whiteley, 2014), like Athos and Porthos respectively, united their voices in 2014 to 'defend' the stylistics cause. It was about time that Aramis,