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Essay Finding Meaning in The Turn of The Screw, by Henry James

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At first glance, Bly appears to be a rather lonely place. The vividly bleak backdrop for The Turn of the Screw houses a handful of servants, two orphaned children, and ghosts who fade in and out of view. But there are others present who are less obtrusive yet just as influential as Peter Quint and Miss Jessel. Peering into and out of Bly's windows and mirrors, engaging with the text and the lingering trace of author Henry James, a crowd of real and virtual readers hope to catch a glimpse of a specter or to unravel a clever Freudian slipknot that will tell them something: They may be looking for that which they think James intended as the text's truth - a transcendental center - or maybe they subconsciously wish to see a …show more content…

Lustig asserts that James's story "uses its blanks to undermine all attempts to establish relations and to join references into a coherent pattern" (255). This "coherent pattern" is what the New Critics believe a text's essential organizing principle to be, and that it is present in the text whether a reader notices it or not. For formalists, a text's essential effect lies in the text alone and is completely independent of a reader's response to elements that create effect in him. Likewise, Lustig's precise analysis of form and subsequent deconstructionist reading of The Turn of the Screw does not mention what a possible reader's process might be when faced with the twists of Bly. But for whom is the effect valuable, if not the reader?

As Iser explains in "The Reading Process," readers situate themselves within their responses, in effect "awakening [the] responses within himself" (51). He further argues that "if a reader were given the whole story...his imagination would never enter the field," and yield nothing but "boredom" (51). To Iser, the life of the text depends on a reader's participation in formulating his own response. More importantly, Iser touts the "unwritten parts," (gaps and ambiguities) of a text to stimulate the imagination, a process that "animates these 'outlines,'" and "in turn...influence the effect of the written part..." (50-51). Iser and other phenomenological reader-response critics depend utterly upon the reader

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