I’ve been re-reading The Turn of the Screw, and I’m reminded of why I so dislike Henry James’s Late Style. I’ll give you a sample of why.
It was a pity that, somehow, to settle this once for all, I had equally to re-enumerate the signs of subtlety that, in the afternoon, by the lake had made a miracle of my show of self-possession. It was a pity to be obliged to reinvestigate the certitude of the moment itself and repeat how it had come to me as a revelation that the inconceivable communion I then surprised was a matter, for either party, of habit. It was a pity that I should have had to quaver out again the reasons for my not having, in my delusion, so much as questioned that the little girl saw our visitant even as I actually saw Mrs. Grose herself, and that she wanted, by just so much as she did thus see, to make me suppose she didn’t, and at the same time, without showing anything, arrive at a guess as to whether I myself did!
This is supposed to be not an impersonal narrative voice, not Henry James, not a novelist, but a governess.
A few (long) sentences later:
Yet if I had not indulged, to prove there was nothing in it, in this review, I should have missed the two or three dim elements of comfort that still remained to me. I should not for instance have been able to asseverate to my friend that I was certain—which was so much to the good—that I at least had not betrayed myself. I should not have been prompted, by stress of need, by desperation of mind—I scarce know what to call it—to invoke such further aid to intelligence as might spring from pushing my colleague fairly to the wall. She had told me, bit by bit, under pressure, a great deal; but a small shifty spot on the wrong side of it all still sometimes brushed my brow like the wing of a bat; and I remember how on this occasion—for the sleeping house and the concentration alike of our danger and our watch seemed to help—I felt the importance of giving the last jerk to the curtain. “I don’t believe anything so horrible,” I recollect saying; “no, let us put it definitely, my dear, that I don’t. But if I did, you know, there’s a thing I should require now, just without sparing you the least bit more—oh, not a scrap, come!—to get out of you. What was it you had in mind when, in our distress, before Miles came back, over the letter from his school, you said, under my insistence, that you didn’t pretend for him that he had not literally ever been ‘bad’? He has not literally ‘ever,’ in these weeks that I myself have lived with him and so closely watched him; he has been an imperturbable little prodigy of delightful, lovable goodness. Therefore you might perfectly have made the claim for him if you had not, as it happened, seen an exception to take. What was your exception, and to what passage in your personal observation of him did you refer?”
Said no one to anyone ever.
It makes me feel like Kingsley Amis writing to Philip Larkin – “No she didn’t, no he didn’t, no they didn’t.”