The Turn of the Screw, a ghost story novella by Henry James, was first published in 1898. It is described as a masterpiece in storytelling, and because of how it creates an atmosphere of terror; it is considered a central text in the horror genre. The story is about a guest named Douglas reading to other guests a story from a written record. An unknown narrator remembers some friends gathering at an old house to listen to one another’s ghost stories, and then introduces Douglas, who tells them about a story that involves two children and a governess. As Douglas reads the story, the point of view shifts and the story is narrated by a different character. It is precisely his sister’s governess who narrates her mysterious experience in which she claims she has a ghost encounter.
The manipulation of point of view through the narrators is what makes this novella a masterpiece; James’s use of point of view not only alters the scheme of a traditional ghost story but also connotes an effort to involve the reader in the story in order to question the narrator’s reliability. As said above, a first narrator introduces the reader to the story as well as explains the nature of it through a character named Douglas, but it is the presence of a second narrator what establishes a difficulty to the reader. The interior voice of the manuscript, so to speak, embodied in the figure of the governess, makes problematically decide whether the apparitions are real or mere delusions. This is because the governess' point of view does not provide conclusive evidence about her experience; hence, the conflict remains a mystery and open to the interpretation of the reader.
Throughout the story two first-person narrators can be distinguished: an unknown narrato...
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...critics, such as Edmund Wilson and Charles Thomas Samuels, have attributed to the term ambiguity. Ward highlights the fact that “ambiguity is an essentially honorific term, implying complexity, richness of meaning and levels of significance” (39). According to Ward, “they (Wilson and Samuels) believe that when a work is ambiguous either the author is unsure of what he wants to say or he is saying to contradictory things at the same time” (Ibid). Nevertheless, in The Turn of the Screw, ambiguity does not have relationship to what Wilson and Samuels claim to be the nature of an “ambiguous” work, but rather the opposite. It is precisely the evident contradiction what allows an epistemological ambiguity, in which “no one is really sure of what is happening and the narrators are of dubious reliability” (58).
Works Cited
“The Ambiguities of Henry James” by J.A. Ward
The classic ghost story, the Turn of the Screw, is filled with loose-ends and ambiguity. Are the ghosts real or imagined? Is the Governess a heroine or anti-heroine? Are the children really as innocent as they seem? In the novel, Henry James rarely provides an in-depth character that the reader actually gets to know. From the young romantic governess, to the intelligent ten year old, James keeps his characters morally ambiguous in order to further the “Unsolved mystery” style.
The Turn of the Screw by Henry James continues to stir up an immense amount of controversy for such a short novel. Making a definite, educated decision on the actual truth considering the countless inquiries that develop while reading this story proves more difficult than winning a presidential election. That being understood, taking one particular side on any argument from a close reading of the story seems impossible, because the counter argument appears just as conceivable. Any side of the controversy remains equally disputable considerably supported by textual evidence from the novel. One issue which, like the rest, can be answered in more than one ways is why Mrs. Grose believes the Governess when she tells her about her ghost encounters. Usually one would second-guess such outlandish stories as the ones that the governess shares throughout the story, yet Mrs. Grose is very quick to believe our borderline-insane narrator. One of the explanations for such behavior could be the underlying fact that Mrs. Grose and the governess have a similar socio-economic background, therefore making them somewhat equals even if the governess does not always seem to think that way. This fact makes them susceptible to trusting and believing each other, and to believing that the ghosts are there, for the people that the ghosts are presenting used to be servants and therefore from a similar socio-economic background. To add on to that, Bruce Robbins proposes in his Marxist criticism of The Turn of the Screw that the idea of a ghost is synonymous to that of a servant, subconsciously making the two lower-class workers of Bly more vulnerable to believe that the ghosts were real; in other words, servants we...
The existence of the ghosts in The Turn of the Screw has always been in debate. Instead of directly discussing whether the ghosts are real or not, this essay will focus on the reliability of the governess, the narrator of the story. After making a close examination of her state of mind while she is at Bly, readers of The Turn of the Screw will have many more clues to ponder again and to decide to what extent the governess can be believed. While critics like Heilman argue that there are problems with the interpretation that the governess was psychopathic, textual evidence incorporated with scientific research show that the governess did go through a period of psychical disorder that caused her insomnia, out of which she created hallucinations.
Interpreting The Turn of the Screw by Henry James from a Marxist point of view brings about serious social class distinctions and consequences of violation within that code. Miles and the unnamed Governess’ relationship demonstrate the wrongdoing of social and legal norms. The Governess’ indeterminate social status leave her as a forbidden woman in Victorian society taking on the role of primary caretaker to children, while Miles embodies the character of the absent master to whom the Governess feels intimately attracted. Mile’s union with rebellious, symbol of threat, Peter Quint, ultimately possesses him and lead to the breakdown of the social hierarchy. The Governess and Mile’s connection display the inappropriate boundary crossed between professional duties and desirable futures as a sexually active individual. Through the two characters moments alone, the rising apprehensions end in the governess’s infringement of social status as she employs to a mysterious sexual relationship with Miles.
In the famous novel, The Turn of the Screw, Henry James tells a story of a governess who
In a criticism on Henry James’s story The Turn of the Screw, Strother Purdy suggests that large amounts of sexual passion may be assumed to exist underneath the surface of the narrative. Purdy says that under a Freudian interpretation of the story, the sexual element is easily recognized and is used as the whole source of the action. According to this theory, the governess wishes to impress her master because she is in love with him and, therefore, exceeeding her authority with the children. Although the governess only sees her master twice, Purdy refers back to what Douglas had said,” it was the beauty of her passion.” Since the master is not impressed by her initial and ordinary course of governessing, she must make up some life-threatening danger to the children so she can rescue them and win the masters love and affection. She figures the danger must be terrible because he told her he did not want to be bothered with matters dealing with the children. He basically tells her he cares nothing for the children. Purdy suggests the governess is unconscious in doing this because she is sexually repressed and cannot admit her sexual motives to herself
One of the most critically discussed works in twentieth-century American literature, The Turn of the Screw has inspired a variety of critical interpretations since its publication in 1898. Until 1934, the book was considered a traditional ghost story. Edmund Wilson, however, soon challenged that view with his assertions that The Turn of the Screw is a psychological study of the unstable governess whose visions of ghosts are merely delusions. Wilson’s essay initiated a critical debate concerning the interpretation of the novel, which continues even today (Poupard 313). Speculation considering the truth of the events occurring in The Turn of the Screw depends greatly on the reader’s assessment of the reliability of the governess as a narrator. According to the “apparitionist” reader, the ghosts are real, the governess is reliable and of sound mind, and the children are corrupted by the ghosts. The “hallucinationist”, on the other hand, would claim the ghosts are illusions of the governess, who is an unreliable narrator, and possibly insane, and the children are not debased by the ghosts (Poupard 314). The purpose of this essay is to explore the “hallucinationist” view in order to support the assertion that the governess is an unreliable narrator. By examining the manner in which she guesses the unseen from the seen, traces the implication of things, and judges the whole piece by the pattern and so arrives at her conclusions, I will demonstrate that the governess is an unreliable narrator. From the beginning of The Turn of the Screw, the reader quickly becomes aware that the governess has an active imagination. Her very first night at Bly, for example, “[t]here had been a moment when [she] believed [she] recognized, faint and far, the cry of a child; there had been another when [she] found [herself] just consciously starting as at the passage, before [her] door, of a light footstep.” The governess herself acknowledges her active imagination in an early conversation with Mrs. Grose, when she discloses “how rather easily carried away” she is. Her need for visions and fantasies soon lead her to believe that apparitions are appearing to her. It is from this point on that she begins to guess the unseen from the seen, trace the implication of things, and judge the whole piece by the pattern. After the first appearance of Peter Quint, the governess begins to make infe...
James, Henry. The turn of the screw and other short fiction. Bantam classic ed. Toronto: Bantam Books, 1983. Print.
In "The Turn of the Screw" by Henry James, the main character, the governess, is so deluded and lonely that she will do anything necessary to reduce these horrifying feelings and not feel them. She decides that the way to do that is to possibly find love and instead she seems to have found a strange infatuation with her employer. But, sadly because she is located in a country house in Essex, such a longing is not possible to define. When the governess realizes this, she seems to apparently replace her unreciprocated feelings in the shape of ghostly spirits. It possibly is her way of "getting out." Without fully realizing this, the governess has chosen to be an unreliable narrator. Seeing the ghostly spirits which make appearances in this invisible relationship, allows her to feel as though she, herself was a part of an invisible relationship. But in all actuality, there is no relationship because the employer seems to keep ignoring her. When the governess becomes tired of these ghosts, she turns to other characters to fulfill her "goals."
Turn of the Screw written by Henry James tells the story of a governess and her recollection of events at the country home of Bly. The story begins at a Christmas gathering where everyone is sharing different ghost stories around the fire. One man has a manuscript or diary of a former governess which details her experience at a “haunted house (302).” The audience begs for him to read it, and so he does. As soon as he begins to read the story, the book’s point of view shifts to the governess’s. Over the course of the governess’s interviews with her employer, she immediately falls in love with him. In an attempt to win her master’s approval, she becomes extremely protective over the children. She views herself as their guardian or rather their “hero” in shielding them from the ghosts that she assumes the children are communicating with. The question that strikes every reader is whether the ghosts perceived by the governess are real or not. This also questions the credibility of the governess’s narration. In reading Turn of the Screw, the governess is proven to be an unreliable narrator through her recollection of events at Bly. Because of the governess’s loves for the master and quest for heroism, her insanity is exposed through her hallucinations.
Through out the short novella, 'The Turn of the Screw,' by Henry James, the governess continually has encounters with apparitions that seem to only appear to her. As Miles' behavior in school worsens so that he is prevented from returning, and as Flora becomes ill with a fever, the governess blames these ghosts for corrupting the children, Miles and Flora, and labels them as evil and manipulative forces in their lives. But why is it that these ghosts only seem to appear to the governess even when the children are present at the time of the sightings by the governess? Evidence from the short story leads the reader to believe that the ghosts are not real but are merely the evidence of the fragmenting sanity of the governess.
I will argue that it is the narrative frames enclosing The Turn of The Screw that are largely responsible for the reception the book has received. They serve two main purposes; one, to build up an element of suspense and tension before the governess's account actually begins, thus heightening the potential for horror and terror in the text; and two, to cast uncertainty on the reliability of the narrators and hence to increase the ambiguity and scope for interpretation of the text. In fact, I will argue that these frames do not assist the reader in interpreting the action, but are actually used by James to deliberately confound the reader and foster an ambiguous atmosphere.
There are many different ways to interpret The Turn of the Screw, by Henry James. Many critics over the past century have voiced their opinions about the story. Each critical analysis of the story disagrees with the beliefs expressed in another. Robert B. Heilman is a critic who wrote in the mid-twentieth century. He interprets The Turn of the Screw to be a representation of the conflict between good and evil. Heilman's points are clear and obviously well thought out, but there are flaws in his argument that make his interpretation questionable.
James, Henry and Henry James. The turn of the screw; and, the Aspern papers. Ware: Wordsworth Classics, 1993. Print.
Throughout The turn of the Screw by Henry James, the theme of ambiguous issues is constantly leaving the reader on their own. The ambiguity and uncertainty within this text causes the readers to come up with their own theories as to what the text really means. The ghost story perspective only adds to the infuriating vagueness. The title itself is about all of the twists within this story and basically foreshadows the confusion that the text will cause.