(Turned in by originally by email, posted late in case anyone wants to read it)

            Any halfway-decent horror story, be it print or film, makes use of foreshadowing to build up the tension. I’ve found, though, that the most chilling tales often use implication and ambiguity rather than explicit details to convey the fear, even during the story’s climax. This makes the terror deeply psychological, rather than hitting the audience over the head with it. The mind is almost always capable of imagining more disturbing possibilities than any physical danger a writer could describe. Edgar Allen Poe uses this idea masterfully in The Tell-Tale Heart, among other stories, and H.P. Lovecraft also does so in many of his best works, The Colour Out of Space being one of the best examples. In The Turn of the Screw, Henry James also uses subtle suggestion to instill the majority of the sense of horror and dread present throughout the story. Even in the scenes where the apparitions that haunt Bly appear, they are described minimally and take part in barely any of the action. They are not even described as specters at first, and the reader only realizes the truth of their ghostliness when Mrs. Grose tells the governess that the man she described who was watching her from the tower had died months ago. Even the climax is crafted perfectly to horrify without the typical level of action which often ends a horror story. It reveals the mysteries that unfold throughout the novella with a moderate amount of dialogue, and ends abruptly but conclusively when Miles dies, apparently of fright, in the arms of the governess.

The use of first person narration is a technique used by countless authors in the gothic horror genre. This technique enables the reader to follow and see everything from the narrators perspective which is inherently unreliable. This lack of reliability, especially in The Turn of the Screw, enhances the reader’s confusion over whether or not the governess is delusional or actually seeing apparitions of Quint and Miss Jessel. The governess is consistently informing the reader that she cannot remember specifics regarding certain aspects of the retelling of her experiences. This vaguity regarding her experiences at Bly, amplifies the lack of reliability in the governess which is culminated in chapters 19 and 20 by the acknowledgement that only the governess admittedly sees the ghosts. Children, while not altogether reliable either and constantly suspecte of working in tandem with Peter Quint and Miss Jessel, do not acknowledge their otherworldly presence until, arguably, the final chapter. This final instance should also be questioned as we know the governess to be rather aggressive; passionately hugging the children, clutching Mrs Grose’s arms, etc.. It is entirely possible that Miles’ admission of witnessing the ghost was an effort to protect himself further from the governess’ militant search for answers and validation. By choosing to present the narrative in first person, James provides the reader with a narrow and limited lens through which to view the events of the novel, calling into question the truth of what actually occurs, and the morality of the character within it.

The recurring theme of poison in this work manages to be simultaneously significant and subtle. The Governess refers to both the influence of the supposed spirits, and the house itself as being poison to the children. In chapter twelve, The Governess asks, “By writing to him that his house is poisoned and his little nephew and niece mad?” The implication of the house is easily overlooked, as it is a flippant and almost comically sarcastic remark to Mrs. Grose while they are on the subject of writing to the children’s uncle. In chapter twenty-four, The Governess states that the overwhelming presence of Peter Quint, “Filled the room like the taste of poison.” At this point in the story, the mention of poison is far less easy to overlook. Only at the conclusion of the story with Miles’ death does poison come to mind again, except the implication here, falls of course, to The Governess! The protector becoming the poisoner is both startling in nature, yet not entirely unsurprising from someone as unstable as The Governess. Poison being easily overshadowed by the more sinister supernatural forces, is a truly brilliant tactic in providing this story with a substantially jarring conclusion.

Cultural/Political

At the end of chapter three, the governess has her first encounter with the ghostly figure of the man. I found this interesting, because she has just come from a stroll around the grounds alone. Upon seeing the figure of the man, she notes that “An unknown man in a lonely place is a permitted object of fear to a young woman privately bred.” This seems like a little remark on a woman’s position in a late 1800’s society. Women out on their own were understandably weary of unknown men. The governess implies that her fear of this unknown man comes from her position as a woman, which is a permitted object to fear based on her society. This passage seems like a purposely added tidbit to further add to the governesses reaction to seeing the strange man based on her gender.

The Turn of the Screw is written in the point of view of the governess. Initially I questioned why her point of view and not the children’s, but who would truly believe children or an old woman seeing ghost. However, when it revealed Flora getting ill and Mile’s death it became evident why. This ghost story was used to explore the wonders of the mind. In the beginning it is easy to argue that the governess actually saw ghosts considering she didn’t know who Peter Quint was to be able to describe him in such detail; same for the prior governess. However, I believe she may have only saw the ghosts once and never again. The children caught wind of what she saw and decided to play a cruel joke on her because she’s the new girl. The importance of continuing in her point of view becomes clear because she becomes so obsessed with the idea of ghosts and evil harming the kids that she becomes the evil that harms the kids. Flora becoming sick was a coincidence for the characters but foreshadowing for the story as a whole. If Flora becomes sick with the governess harassing her about ghost imagine what would happen to Miles. Governess becomes so consumed with ghost, Miles knows about her weird obsession and tries to sympathize with her, but she ultimately scares him to death with the whole idea. No one saw the ghosts but her because she became the evil that was set to harm them. 

Hayley Gillespie

The Turn of the Screw is written in a first-person point of view of the narrator, the governess. With the story being written this way, the reader only receives the governess’ side of the story. The narrator is filled with paranoia through the novel and makes several claims. No other characters staying at Bly admit to seeing Miss Jessel or Peter Quint through out the story and the governess is convinced that the children are lying about it. Maybe the governess saw a picture of Quint at some point and that is why she was able to describe him to Mrs. Grose. She also is convinced the female ghost is Miss Jessel without any description to Mrs. Grose for conformation. Could the governess’ paranoia be just a sign of insanity? Are the apparitions of these people from the past figments of her imagination?  

I thought the issue of class was very interesting in this novel. The whole conflict surrounding the children’s relationship with Peter Quint, and even Quint’s with Ms. Jessel seems to be one of class. Quint, as it is repeatedly pointed out, is not a gentleman. Ms. Jessel and the children, however, belong to a higher class, and are thus considered above Quint. Despite Quint’s supposedly sinister nature, it seems like the characters focus more on the class disparity in his relationships than on his potential for genuinely harming the children.

In the Governess’s case too, the issue of class plays a major role. Although she is ostensibly esteemed by the children for most of the story, her position is below theirs. The disparity this dynamic creates lends itself towards an unsettled, almost liminally-charged tone that I would say rivals even the essential creepiness of the children. The intense, class-based stratification is part of what I think gives the story such a disconcerting tone; everything is uncertain, precarious, full of potential trespass.

Emma Daklouche

         In chapter four of Henry James’ The turn of the Screw, the governess sees the apparition of Peter Quint for a second time. Quint is staring at her from outside a window. The governess is horrified and runs outside to confront the ghost. Once she is outside she does not see the ghost, and instead turns back to look inside the house (just as the ghost of Quint had done moments ago). As the governess is staring into the house Mrs. Grose walks by and is frightened by the sight of the governess. The governess claims, “I wondered why she should be scared” (James 139).

            This scene in the book parallels the fear the governess has for Quint with the fear Mrs. Grose is developing of the governess. Whether or not the governess is actually seeing ghosts of any sort is debatable. Which begs the question, is the governess simply mad herself? Are the ghosts a reflection of the governess’s own insanity? Is the governess the horror lurking around Bly? Personally, I believe this quote shows that the governess is indeed the source of the horrors being experience at Bly, or at least a contributing factor. Or, the governess sees herself falling into the same pattern as those whom have previously been employed at Bly, like Quint and Miss Jessel.

I really enjoyed this book! James seems to leave a lot of the suspicion and fear surrounding Bly to personal interpretation, which might be the most frightening part of the book!

The character of The Governess is seen to be indecisive in her position. Although she cares for Miles and Flora in realizing the children’s innocence, she is cautious of their actions in that they might be deceiving towards her. However, she shows strong affection to the children by embracing them. So, in turn her character becomes inconsistent throughout causing Mrs. Grose’s to be questionable about her behavior. Due to the unpredictability of the Governess she can be seen as either a hero or a villain, as she holds strong concern for the children whilst being overtly suspicious. The Governess is seen as an ambitious young woman who unintentionally places herself in a situation to deal with supernatural forces to protect others. However, elements within the novel suggests that the Governess was insane before she even met the children. Her insanity from the traumatizing events that occurred had caused her to murder the young boy accidentally. The Governess loses her mind with her hallucinations with the ghost encounters and fears that stem from her sightings and experiences. She could even hallucinated everything around her and not realized her insanity at all, from seeing the ghosts so much or having the child die in her arms which drove her to complete insanity.

Theme/Issue

A common theme in Turn of the Screw is the corruption of innocence. As soon as the governess sees what she assumes to be the ghosts of Peter Quint and Miss Jessel, she immediately thinks that they are out to corrupt her charges, Miles and Flora. The governess goes about protecting them from the ghosts influences by continually questioning them on what they supposedly know. Throughout the story it almost seems as if the governess is projecting her own fears if the ghosts onto the children and it eventually wears on them. Flora ends up sick and leaving the estate saying she never wants to talk to the governess again, while Miles actually dies, though how exactly is unclear. The ending is ambiguous but it also leads the reader to believe that perhaps the governess paranoia is what led to the events.