The story had held us, round the fire, sufficiently breathless, but except the obvious remark that it was gruesome, as, on Christmas Eve in an old house, a strange tale should essentially be, I remember no comment uttered till somebody happened to say that it was the only case he had met in which such a visitation had fallen on a child. The case, I may mention, was that of an apparition in just such an old house as had gathered us for the occasion—an appearance, of a dreadful kind, to a little boy sleeping in the room with his mother and waking her up in the terror of it; waking her not to dissipate his dread and soothe him to sleep again, but to encounter also, herself, before she had succeeded in doing so, the same sight that had shaken him. It was this observation that drew from Douglas—not immediately, but later in the evening—a reply that had the interesting consequence to which I call attention. Someone else told a story not particularly effective, which I saw he was not following. This I took for a sign that he had himself something to produce and that we should only have to wait. We waited in fact till two nights later; but that same evening, before we scattered, he brought out what was in his mind.
The Turn of the Screw is an 1898 gothic horror novella by Henry James which first appeared in serial format in Collier's Weekly from January 27 to April 16, 1898. On October 7, 1898, it was collected in The Two Magics, published by Macmillan in New York City and Heinemann in London. The novella follows a governess who, caring for two children at a remote country house, becomes convinced that they are haunted. The Turn of the Screw is considered a work of both Gothic and horror fiction. In the century following its publication, critical analysis of the novella underwent several major transformations. Initial reviews regarded it only as a frightening ghost story, but, in the 1930s, some critics suggested that the supernatural elements were figments of the governess' imagination. In the early 1970s, the influence of structuralism resulted in an acknowledgement that the text's ambiguity was its key feature. Later approaches incorporated Marxist and feminist thinking. The novella has been adapted several times, including a Broadway play (1950), a chamber opera (1954), two films (in 1961 and 2020), and a miniseries (2020).