Malevolence or hysteria?

This short story offers a wealth of interpretations. In the past, it has filled me with terror, yet it can also be regarded as a narrative of female hysteria and warped delusion. James takes the classic English ghost story and gives it a modern twist, such that the gaps and uncertainties in the governess's account are the very essence of the story.

It is ambiguous, malevolent, and a masterful demonstration of tension and the macabre, regardless of where we place the latter. This is likely not to the taste of readers who prefer a linear and uncomplicated narrative. However, it still stands as one of the most approachable introductions to James' notoriously complex prose style.

Despite its complexity, the story manages to draw the reader in and keep them on the edge of their seat. The ambiguity surrounding the events and the governess's state of mind adds an extra layer of intrigue, making it a truly captivating read. Whether we view it as a tale of malevolent spirits or a descent into the governess's own hysteria, there is no denying the power and impact of this short story.

Tediously pompous interminable sentences.

These types of sentences can be a real pain to read and understand. They often seem to go on forever, filled with unnecessary words and complex structures that only serve to make the message more convoluted.

Authors who use such sentences may think they are adding an air of sophistication or importance to their writing, but in reality, they are just making it harder for the reader to get the point.

It is important to remember that clear and concise writing is usually more effective in communicating ideas. By using simple and straightforward sentences, the author can ensure that the reader understands the message without having to wade through a sea of pompous verbiage.

So, the next time you are writing, try to avoid using tediously pompous interminable sentences and instead focus on getting your point across in the simplest and most direct way possible.

**Original Article**: This is a short article. It doesn't have much content. But it can be expanded.

**Expanded Article**:
This is a rather short article.

It indeed doesn't possess an abundance of content.

However, it has the potential to be expanded.

We can add more details, examples, and explanations to make it more comprehensive and engaging.

Perhaps we could explore different aspects related to the topic, offer various perspectives, or provide in-depth analysis.

By doing so, the article would become more valuable and interesting for the readers.

It would no longer be just a brief piece but a more substantial and informative one.

So, let's take the opportunity to expand this article and bring it to life.

I'm truly amazed that I read this during my high school days. I often wonder what exactly I gained from it back then. I vividly remember adding it to the "I like this one" list, but beyond that, I'm not entirely sure. After a recent reread, I still placed it on that list, yet I suspect my reasons for doing so have changed significantly.

I've grappled for a long time with my relationship with Henry James. I have a great deal of appreciation and admiration for him, but at times, I do wish he would be more direct and get to the point. He appears to be much more cautious in the three accompanying stories of this edition. And although they all qualify as ghost stories, "Turn of the Screw" is undoubtedly the only one I would label as horrific. However, the horror, in my view, is entirely internal. I don't trust our narrator for a single moment. (I'm afraid I might have felt the same way in high school, as I wasn't an experienced enough reader to realize that I don't necessarily have to trust the narrator.) I believe our narrator desires a ghost story just as much as we do, so she plants the images that will give her the greatest fright, and the true horror lies in the fact that she believes her own narration.

I think there are two ways to approach Henry James. One is to search for his "moral," identify the phrases that support your theory, and compare them with the thousands of other James theorists in print. There is always an abundance of material ripe for analysis. James is nothing if not thorough in his reasoning. The other way is to simply let the words wash over you and carry you along. Even if you feel a bit bogged down by his wordiness, you will emerge from the other end of the paragraph with something approaching an epiphany.

I cannot, but I really cannot recommend Orfelin's edition enough. Besides the novel itself and other James's ghost stories, the accompanying texts (the author's and Ognjanović's conversation) as well as the visual supplements (illustrations of James's novel, as well as photographs from the film "The Innocents") complete the reading experience. If there is a book in the Serbian language that best represents James as a horror author, this is it.

"Turn of the Screw" itself may seem a bit outdated today, as it contains all the literary tricks that were perhaps innovative at the end of the 19th century but have been used countless times today. However, it is never bad to return to the old master, especially if the master is. Besides teaching us how easily a story can be told and tension created (one can literally feel the reader's dizziness as it tightens), James teaches us that the punitive reality hidden behind them is scarier than the utopias. In this case, the ghosts are a vivid screen behind which sexual abuse of children is suspected, which confirms that reality is far scarier than fantasy. In fact, Nabokov and "Lolita" owe a lot to James's "Turn of the Screw".

And if it wasn't already clear, buy Orfelin's editions. The love they devote to their editions is amazing and terrifying.

I was somewhat disappointed with The Turn of the Screw. Generally, I don't struggle with older language, but the style in which the story was told was truly verbose and arduous to endure. I've had a longing to read this story since my youth, perhaps setting my expectations too high. Nevertheless, I did discover that the portrayal of the ghosts and their interactions with people was exquisitely written, with an eerie descriptiveness that was precisely what I had hoped to encounter in this narrative.

The dialogue was disjointed and challenging to follow. I grasped its nature - these women were thinking the same things, yet those thoughts remained unspoken. I understand that this added to the mystery, and there were numerous double meanings throughout the story, heightening the tensions (both sexual and otherwise). However, at times, and I feel a tinge of guilt in admitting this, I simply wished someone would have voiced what they were thinking.

The mystery surrounding whether or not the governess was truly seeing ghosts, I believed, could have been more emphasized. But to be honest, I was content with it; I think I'd prefer to simply assume they were ghosts! It was also a proficient depiction of a class-based society, where certain classes were not supposed to mingle and the consequences that ensued when they did.

I read two out of the other three stories in this edition (omitting the last one due to lack of time) - "The Romance of Certain Old Clothes" and "Friends of Friends". "Old Clothes" was excellent - still maintaining that Henry Jamesian essence of not explicitly stating what everyone is thinking, but executed more subtly, I believe. The ending was a brilliant example of early horror. "Friends of Friends": Eerie. Bizarre. But in terms of storytelling, just average. I think I would have liked to see the second half given more emphasis. Still, it's worth a read on a chilly night by the fire!

Painful. Just painful.

The sentences in this work seem to transform into multi-page epics, leaving me to wonder if perhaps James' typewriter was malfunctioning, causing him to rely solely on commas.

I'm only 20 - 30 pages into Turn of the Screw, and I'm truly making a great effort not to put it down in disgust.

I have to continuously repeat my mantra to myself: "They are classics for a reason. They are classics for a reason."

Surely someone liked them enough for them to remain in print for this long. I simply have to discover what it was that gripped their imagination so strongly.

Perhaps they're a cure for insomnia, as reading them requires such intense concentration and patience.

But I'm determined to persevere and try to understand the allure that these classic works hold for others.

Maybe, just maybe, as I continue reading, I'll have a breakthrough and finally see the beauty and value that lies within.

Until then, I'll keep telling myself that there must be a reason why these books are considered classics.

I cried.

It was a moment of overwhelming emotion that just couldn't be held back. Tears streamed down my face, as if a dam had burst within me.

I don't know exactly what triggered it. Maybe it was the stress of the day, the accumulation of little disappointments, or perhaps a long-suppressed feeling that finally found its way to the surface.

Whatever the reason, crying felt like a release. It was a way for my heart to unburden itself, to let go of the pain and the weight that I had been carrying.

As I cried, I felt a strange sense of relief. The tears seemed to wash away some of the sadness and made me feel a little lighter.

I knew that I couldn't stay in this state forever, but for that moment, I allowed myself to feel the full range of emotions and to let the tears flow freely.

Is the governess mad, or are the ghosts real?

This question lingers throughout the story, leaving the reader in a state of unease. Henry James's phenomenal writing and exemplary unreliable narration make it impossible to determine a conclusive answer. The story is a masterclass in psychological horror, keeping the reader on the edge of their seat from start to finish.

The Oxford Classics edition includes three other stories, each of which is equally enjoyable. One of the best stories revolves around a woman who marries a man she had intended to set up with another woman. Jealousy and hysteria soon follow, leading to a thrilling and unpredictable conclusion.

Overall, this collection of stories is a must-read for fans of classic literature and psychological horror. James's writing is both beautiful and haunting, and his ability to create complex and believable characters is truly remarkable. Whether you believe in ghosts or not, these stories are sure to leave a lasting impression.

Sablasna kirija and Okretaj zavrtnja definitely dominate the collection. What I don't like about James' writing is that he uses too many words and sequences of self-examination through his protagonists (whether they are examining themselves or others, I'm not sure) to say very little or something that is rather clear and sufficiently explained in most cases from the very beginning of reading the story. And then it goes on and on throughout the story, so that sometimes I get the impression that there is no end, and then it is briefly reconciled. This is especially felt in Veselom cosetu and Okretaju zavrtnja. It's not that the stories are not good, it's not that the ideas are not good, it's not that the endings are not good, the developments, far from it. The writing style is a bit thin, forced, overloaded with simple and very often banal explanations that appear frequently on the pages and definitely don't justify those pages. However, the stories themselves, when considered as a whole, are by no means banal. They have depth, a philosophical, moral, and life-aesthetic aspect, a handful of determinations and views on the very idea of the story, and later, after reading it, also on the work in its entirety, not by pages but by the experience.

If you want a better-written and more effective story (which is to some extent a product of Henry's), where more is said in a way more similar to today's style of thinking, writing, and perception, pick up the novel "Zavodnik" by Dejan Ognjanović and surrender to the fear that acts and doesn't let go in a more advanced and effective way.

I truly desired to have a liking for this. It is a classic and a splendid example of Gothic Literature.

However, I simply could not overcome the language barrier. This was penned in the late 1800s, so it is indeed typical for that era, but it was just overly distracting. And perhaps it was truly terrifying in its time....but this really was not. The only portion that was moderately eerie were those two children, Miles and Flora. There were a few parts that were a bit spine-chilling, and the image of the ghost of the old governess standing on the opposite side of the lake, in black, with a veil, is rather unnerving.

I can understand why this sort of story had an impact on an entire new generation of gothic writers, especially female writers. Henry James is writing from the perspective of a female protagonist, which is perhaps the reason why the voice seemed a bit off, or hysterical. In numerous other Gothic narratives written by women, there is an additional layer to their protagonists who attempt to flee the house and combat the spectre that is binding them within the male-dominated patriarchy. So, from a research standpoint, it was interesting to read a male writer employing a female protagonist. I believe I derived more from this book in terms of my thesis than actual enjoyment from the story.

Glad it's over.

This simple statement holds a world of relief and a sense of finality.

When we say "glad it's over," it implies that we have endured something challenging, perhaps a difficult task, a trying experience, or a period of stress.

The weight that has been lifted off our shoulders is palpable, and we can finally take a deep breath and move forward.

It's a moment to celebrate the end of one chapter and look forward to the new opportunities that lie ahead.

Whether it's the completion of a project at work, the conclusion of a long journey, or the resolution of a personal issue, being glad it's over allows us to embrace the present and find joy in the fact that we have overcome.

It's a reminder that no matter how tough things may get, there is always an end in sight, and we have the strength within us to persevere.

So, the next time you find yourself saying "glad it's over," take a moment to appreciate the journey and the growth that has come with it.

And then, with a smile on your face, step into the future with confidence and excitement.