Little girl the vision of whose angelic beauty had

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little girl, the vision of whose angelic beauty, had probably more than anything else to do with my restlessness” (James 10). It is possible that she is aware of her carnality either consciously or subconsciously. Even in chapter 2, her description of Miles is also full of such problematic taboo insinuations. She tries to portray Miles as demonic and corrupting. For Grose, Miles is “no boy!" but one who is capable of “contaminating” and who “seems to like us young and pretty!” (James 45). On the contrary to her intension, the readers can make an array of interpretation about her taboo approach to Miles. Henry James’ power to lead the readers’ emotion and thought in different directions with his storytelling strategies makes the uncanny more effective in the novel. The narrator, the anonymous governess, narrates the story in a style of “experiencing déjà vu” (23). Any careful interpretation on the readers’ part is possible and right because the novel does not end with a decided conclusion. It does not provide any formal purgation of the confusion and conundrum which rises. In fact, keeping these confusion and question unsolved, James intentionally has drawn an end to his novel. It is because he wants to turn novel in an artifact which will endorse his claim that fictional reality is indeed what and how we imagine it. In the novel, he intends to tell that in the independent world of fiction or of fiction, there is nothing right. Rather the perception of reality depends solely upon us. In this world of literature, Readers are free to perceive and judge the reality what an author presents in his literary works. It is essentially the subjective fabrication of physical on the writer’s part. Even if a writer wants to present physical realities in a fiction, the readers’ interpretation may not necessarily match with the writer’s presentation of the intended reality.
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Surname 5 Works Cited James, Henry. The Turn of the Screw. Virginia: Virginia University Press. 2001
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