As I frequently state on this platform, it would be rather foolish and pointless for me to critique a text as classic as this one. There is probably very little that is truly original left to be said about it. Having said that, I truly adored this small collection of stories.

I surmise that perhaps half of the page count consists of biography, references, appendixes, and so on. So be cautioned that there isn't really an abundance of direct story content here.

It is truly remarkable how James employs the figure of the ghost in each of these stories. The 'ghost' assumes a symbolically distinct role in every story. It might signify feelings of guilt, familial trauma, jealousy, and, of course, that age-old theme, the loss of innocence. The writing is excellent throughout, with some really well-crafted sentences.

It is also interesting to compare these works to those of Lovecraft, not only in the context of the horror genre but also in terms of examining how the narratives are structured with frame narratives and retro-interred texts.

I really spent an inordinate amount of time reading this, and to be fair, it's partly because I simply couldn't get into it. This, in turn, made it even more difficult for me to connect with the book.

In the end, the story that appealed to me the most was "The Friends of the Friends." It centered around two individuals who, due to a series of coincidences and accidents, seemed unable to meet for years. It depicted obsession, jealousy, and a hint of cosmic malice, which gave me the precise eeriness that I love to encounter in horror writing.

Obviously, I read this collection because of "The Turn of the Screw." I'm sad and, quite frankly, ashamed to have to admit that I didn't understand a thing about it. Everything appeared repetitive, muddled, and deliberately opaque. I couldn't fathom where Henry James was headed or what he was attempting to convey. I certainly didn't experience any sense of dread while reading it. I'm aware that it's regarded as a great piece of work and a true classic. Most of the time, when I don't like a classic, it's because, although I understand why it's held in such high esteem, I don't concur with the qualities that people perceive in them, or because I notice flaws that are too significant for me. Here, it's as if I can't even comprehend why it's so highly touted, and I can't help but think that it must be because I failed as a reader, at some point, in some way, while reading the story.

When I first read "Turn of the Screw", I expected a sensational horror story and wasn't really impressed.

However, when I read it for the second time, I didn't know what to expect and didn't have any expectations at all. But then, some magic happened haha. The more I delved into the story, the more I enjoyed the endless ambiguity of interpretation that almost every sentence of this novella offers. Nothing is concrete, the evil feeling is omnipresent, but the knowledge of its origin and true nature is not served to us precisely at the end of the story. Instead, we are left to guess and choose the way we will look at this work, like a hologram that shows a different image depending on where we stand when we look at it.

This second reading made me realize the true depth and complexity of "Turn of the Screw". It's not just a simple horror story, but a work that challenges our perception and forces us to think deeply about the nature of evil and the power of suggestion.

I'm glad I gave this novella a second chance, as it has now become one of my favorite works of literature.

Finally, I finished this up. I was on the verge of giving up, but I made the decision to persevere. The stories were just okay. To be honest, I didn't really have a deep investment in any of them. Among all of them, it was actually the last story that managed to capture my interest. It had something unique that set it apart from the others. Maybe it was the plot twist or the engaging characters. I'm not entirely sure. But whatever it was, it was enough to make me pay closer attention and want to know more. Overall, while the collection of stories wasn't a home run for me, that last story did leave a bit of a lasting impression.

I would rate The Real Thing ☆☆☆. It offers an interesting exploration of art, class, and identity. However, The Figure in the Carpet and the other short stories failed to capture my interest. I simply skimmed through them out of boredom. They lacked the engagement necessary to hold my attention.

On the other hand, The Turn of the Screw is also a ☆☆☆ story for me. I was haunted by the narrative tense and the setting. If it was intended as an exploration of female hysteria, it was executed well. If its main theme was the lack of direct communication and how that leads to the reinforcement of taboo subjects, James effectively conveyed that point. Nevertheless, it remains unclear to me where the protagonist's drive originated from and why she did not flee. Additionally, I found most of the dialogue extremely frustrating due to its confusion. Overall, though, it was well worth the read.

Seven Terrifyingly Boring Stories

Once upon a time, there were seven stories that were not only uninteresting but also had a strange kind of terror lurking within their dullness.

The first story was about a man who spent his entire day watching paint dry. Hour after hour, he sat there, eyes fixed on the slowly hardening surface. The monotony was enough to make anyone's mind go numb.

The second story followed a woman who walked the same path every day, without any variation. She passed the same trees, the same houses, and the same people. The predictability of her routine was both comforting and oddly disturbing.

The third story was about a group of children who played the same game over and over again. Their laughter echoed through the empty playground, but there was a sense of emptiness in their eyes.

The fourth story told of a man who read the same book every night before going to sleep. He knew every word by heart, yet he continued to turn the pages, as if searching for something he had lost.

The fifth story was about a woman who cooked the same meal every day. The smell of the food filled the kitchen, but there was no excitement in her cooking.

The sixth story followed a man who worked in the same office, doing the same job, day in and day out. The sound of the typing and the clicking of the mouse was like a never-ending symphony of boredom.

And the seventh story was about a world where everything was the same. The sky was always blue, the grass was always green, and there was no change, no excitement, and no adventure.

These seven terrifyingly boring stories may seem like nothing more than a collection of mundane tales, but they hold a deeper truth about the human condition. Sometimes, the most terrifying things in life are not the big, obvious ones, but the small, everyday things that we take for granted.

Henri James really didn't know how to construct long sentences, but that didn't prevent him from using them very often.

The first three stories I liked. The plot twist in "Turn of the Screw" didn't quite sit well with me (just like the first time I read it several years ago).

Perhaps it was because the unexpected turn seemed a bit forced or didn't flow naturally with the overall narrative.

However, despite this minor drawback, James' writing still has its charm.

His ability to create an atmosphere of mystery and suspense is remarkable.

The characters are well-developed and the settings are vividly described.

Overall, while "Turn of the Screw" may not be my favorite among his works, it still showcases James' talent as a writer.

I look forward to exploring more of his stories in the future.

Henry James, oh, he is truly longwinded. I had the pleasure of reading his story “Daisy Miller” during my college days for an American literature class. The imagery in that story is exquisitely written, painting a vivid picture in my mind. However, the other four stories in this volume have left me mentally exhausted and emotionally drained long before reaching the end.

“The Turn of the Screw” – what on earth happened in that story? Was the governess insane or were the children out of their minds? These answers, along with many others, are left open to interpretation. But after the intense buildup of suspense regarding what would become of the children with the supposed ghosts lurking around, I desperately needed some form of closure.

“Washington Square” is a considerably long story compared to the others and it gave me a very Jane Austen-esque feel. The loyalty of the daughter towards her family, the father's refusal to accept his daughter's choice of marriage, the unclear true motivations of her suitor, and the meddlesome aunt – the basic plot elements felt timeless. However, the point seemed to drag on and on. It was by far the most disappointing “will they, won't they” story I've ever read or heard.

From what I could gather of “The Beast in the Jungle”, the man was afraid of love sneaking up on him. He lived his entire life in fear of opening himself up to another person… until she died? How depressing.

There was absolutely nothing “jolly” about “The Jolly Corner” for me. Perhaps by the time I reached this narrative, I was already too drained from James's incessant ramblings. But I found this one peculiarly strange in a bad way and confusing from start to finish.

Henry James's stories seem to share a common theme: they are mildly confusing as you read, but become irrevocably perplexing when you think too hard about the actions and characters due to all the possibilities he implies.

Honestly, all but "The Turn of the Screw" were utterly boring. Henry James writes in a way that seems devoid of feeling. It's as if he has no understanding of a real person's emotions or deliberately chooses to focus only on the most base and evil aspects of a character, such as greed, lust, and pride.

"The Turn of the Screw" did have the suspense that Stephen King promised in "Danse Macabre." However, it was so extremely vague that in the end, it lost my interest. It just took a bit longer to do so compared to the other stories. I was truly disappointed. But from some light research, I gather that Henry James tends to evoke rather bipolar reactions from people.

I will say this, though. While his writing is often verbose, it is also frequently beautiful and demonstrates a mastery of the English language that most of us will likely never achieve. Yet, I couldn't help but wonder why he didn't also master the art of storytelling. After all, a great storyteller can engage the reader on multiple levels and make the reading experience truly unforgettable. Sadly, in my opinion, Henry James falls short in this regard.

Henry James is a renowned American author who has penned several masterpieces. His works, such as "Washington Square," "Daisy Miller," "The Beast in the Jungle," and "The Jolly Corner," are all considered 5-star stories.

"Washington Square" tells the tale of a young woman named Catherine Sloper and her complex relationship with her father. The story explores themes of love, inheritance, and social expectations.

"Daisy Miller" is a tragic story of a beautiful and independent American girl who travels to Europe and becomes the center of a scandal. The novel delves into the cultural differences between America and Europe and the consequences of following one's heart.

"The Beast in the Jungle" is a psychological thriller that follows the life of John Marcher, a man who believes that a great and terrible event is waiting for him. The story builds up to a shocking revelation that changes Marcher's life forever.

"The Jolly Corner" is a supernatural tale about a man named Spencer Brydon who returns to his childhood home in New York City. As he explores the house, he begins to sense the presence of a mysterious figure that may be his own doppelganger. The story examines themes of identity, memory, and the past.

These four stories are just a few examples of Henry James's remarkable talent as a writer. His works are known for their intricate plots, complex characters, and beautiful prose. They continue to be studied and enjoyed by readers around the world.

I was a little apprehensive as the Author's Preface was extremely dense and dull. I could understand perhaps only 2% of what he was talking about. Naturally, this made me worried that the prose would be the same.

It is dense, yet not overly so. It's what one would expect from literature during the Victorian period. So, if you're accustomed to that, you should have no difficulties. This collection features three other short stories in addition to the titular novella. Therefore, I'll review each one individually.

The Turn of the Screw

This wasn't actually my favorite among the bunch. When it got going, it was decent. However, I do think it was far too long. Perhaps if the sense of suspense had been clearer, it would have worked. But ironically, I don't think it was long enough for adequate suspense to build. It should have been a short story starting closer to the action or a full-length Gothic novel. As it was, it was neither, resulting in quick, tense scenes of good threat and action separated by dull paragraphs of introspection that did nothing for the pacing.

What I did like about it was that it was completely incomprehensible. It's impossible to figure out what's going on, but in a good way. There are so many options, and all of them are dreadful. At the simplest level, two children are being tormented by evil spirits. But how real are these spirits? What is fact and what is the governess's imagination? How much is everyone getting caught up in a sense of adventure and mystery? How far are they going for the aesthetics of a haunting? Is it a trick? Delusion? Or are they straight-up evil ghosts? You can't be sure, and you probably won't find out.

and Other Stories...

Sir Edmund Orme: My favorite of the bunch. Short, sweet, and a great solid ghost story, well-paced and the perfect length for itself. This one was a classic in terms of ghost stories and it had a brilliant atmosphere.

Owen Wingrave: Alright, but it suffered from an excessive build-up that didn't match the climax. There was a lot of family drama that padded out the story and set the scene, but ultimately didn't have much to do with anything. This could have been half the length it was.

The Friends of the Friends: Another great one, well-paced and solid. The premise was very unique and utterly tragic in the way the best ghost stories are. There's a sense of inevitability about it that's just devastating, and the narrator is delightfully flawed.

Overall, it's a solid collection. The main gripe was pacing, but when it was good, it was brilliant.

Gentlemen, behold: a book I was unwilling to finish, and don't plan on finishing.

I never really planned on finishing it. I just bought it for its lead story. "The Turn of the Screw" is an archetype for gothic ghost stories, and cements the trope of the unreliable narrator. In April, however, I got hold of an audiobook copy of "Washington Square." I reviewed it elsewhere thus:

"It is incandescently boring. It's so boring that it kind of swings all the way around to become interesting again. What should be a uniquely American novel of latter-19th century New York manners reads far too much like a Regency-era class conflict...This is not a new observation. It annoyed Henry James even in his own time to be compared to Jane Austen, but after reading 'Pride and Prejudice' last year, I couldn't escape the idea that I was reading a novel out of its era."

So, I wondered, as I hacked my way through the tangled jungle of Henry James's tortured syntax, who exactly would find a book written in such a style appealing?

It reminded me of the struggles I had in college with other boring books. Just because I had to read 'em didn't mean I had to like 'em. No, I didn't like "Sister Carrie," or "House of Mirth," or "Tess of the bloody D'urbevilles," books I had never encountered outside of a classroom.

Conversely, more positive reviews of "Turn of the Screw" tend to use phrases like "If you can get past the archaic language," as if the thick style was just an artifact of that hoary bygone era of 1898. But you don't have to go far to realize that the writing style is not a product of its time, but a product of its author. Arthur Conan Doyle doesn't trowel it on that thick. Nor does Rudyard Kipling. Or HG Wells or Jules Verne or Ambrose Bierce or Arthur Machen or Henrik Ibsen or even Oscar Wilde, from whom one might expect it.

The clue to the continuing appeal of these books lies in their similarity to those hated University texts: this is exactly the sort of book an academic would like. Beyond the turgid style is a whole lesson plan in modern critical theory. The syllabus practically writes itself. I can think of five different position papers on the spot. I'm certain that Henry James survives in the literary canon not because people enjoy sitting down and reading "Portrait of a Lady" on a slow Sunday afternoon, but because of outsized academic interest.

It's not entirely without merit - there IS a hell of a ghost story somewhere under all the curlicues and gingerbread - but it's a story that could easily have been told in about seven thousand words. I'll give it three stars on condition that I never have to pick up another Henry James story again.