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The Turn of the Screw

by Henry James

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Description

This work is a novella that belongs to the Gothic horror genre and is constructed as a first-person narrative. It recounts the experiences of a young governess employed at a secluded country estate where she cares for two children. As she settles into her role, she begins to perceive supernatural phenomena, including sightings of ghostly figures, which she interprets as spirits haunting the estate. The story progresses through her increasingly disturbed observations and perceptions, blurring the boundaries between reality and hallucination. Critical for its period, published in 1898, the novella exemplifies Victorian anxieties about innocence, morality, and the supernatural, employing ambiguity to maintain suspense and uncertainty about the true nature of the spectres and the governess’s perceptions.

Henry James’s narrative employs a restrained and subtle style characteristic of late 19th-century literature, focusing on psychological tension rather than explicit gore or action. The story’s unsettling quality arises from the narrator’s subjective account and the ambiguous nature of the supernatural elements, prompting ongoing debate about the reality of the hauntings and the mental stability of the protagonist. Its concise length combined with its atmospheric detail exemplifies the Gothic tradition of using suggestion and atmosphere to evoke fear and suspense.

From the opening pages

The story had held us, round the fire, sufficiently breathless, but except the obvious remark that it was gruesome, as, on Christmas Eve in an old house, a strange tale should essentially be, I remember no comment uttered till somebody happened to say that it was the only case he had met in which such a visitation had fallen on a child. The case, I may mention, was that of an apparition in just such an old house as had gathered us for the occasion—an appearance, of a dreadful kind, to a little boy sleeping in the room with his mother and waking her up in the terror of it; waking her not to dissipate his dread and soothe him to sleep again, but to encounter also, herself, before she had succeeded in doing so, the same sight that had shaken him. It was this observation that drew from Douglas—not immediately, but later in the evening—a reply that had the interesting consequence to which I call attention. Someone else told a story not particularly effective, which I saw he was not following. This I took for a sign that he had himself something to produce and that we should only have to wait. We waited in fact till two nights later; but that same evening, before we scattered, he brought out what was in his mind. “I quite agree—in regard to Griffin’s ghost, or whatever it was—that its appearing first to the little boy, at so tender an age, adds a particular touch. But it’s not the first occurrence of its charming kind that I know to have involved a child. If the child gives the effect another turn of the screw, what do you say to two children—?” “We say, of course,” somebody exclaimed, “that they give two turns! Also that we want to hear about them.” I can see Douglas there before the fire, to which he had got up to present his back, looking down at his interlocutor with his hands in his pockets. “Nobody but me, till now, has ever heard. It’s quite too horrible.” This, naturally, was declared by several voices to give the thing the utmost price, and our friend, with quiet art, prepared his triumph by turning his eyes over the rest of us and going on: “It’s beyond everything. Nothing at all that I know touches it.”

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