Finally, the article intends to show how Florence & Giles intertwines the deconstruction of Victorian ideals of childhood with contemporary discourses on the issue of childhood. The Turn of the Screw, originally published in 1898, is a novella written by Henry James.The story, a part of gothic and ghost story genres, first appeared in serial format in Collier’s Weekly. One is a world-famous writer whose hefty novels (The Portrait of a Lady weighs in at 672 pages) are studies in psychology, who spent most of his career pitting the provincialism and optimism of the American mindset against the world-weary sophistication of the. Drawing on Foucault’s notion of technologies of the self, the article argues that Harding radicalises the subversion of Victorian childhood innocence which is already implicit in James’s text as it foregrounds various modes of transgression, particularly through its effective employment of voice, space, and agency. The Turn of the Screw Introduction 'Henry James' and 'spooky ghosts' might not, at first glance, seem like a match made in heaven. In the larger context of neo-Victorian fiction, which has tended to marginalise child characters, the work is equally progressive. Focussing on the representation of childhood, this article aims to demonstrate that Florence & Giles is the first reworking of The Turn of the Screw that centres entirely on one of the child characters, who is simultaneously its protagonist and narrator. This article examines John Harding’s novel Florence & Giles (2010) as a neo-Victorian reworking of Henry James’s classic The Turn of the Screw (1898).
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