Perhaps the novella he is most famous for, it seems the ghost story is the form that James’ gloriously ambiguous style suits best, at least in terms of what the reader wants: not knowing what’s going on in a ghost story? Yes please. A range of emotions and thoughts that you can’t put your finger on and reduce to a few pithy aphorisms when exploring complex relationships? No thank you, Mr James. The reader likes her sentimental novels crystal clear, just in case they miss the moment that something definite definitely happens in the heart, soul or head of the heroine, but with ghost stories, anything goes: the reader loves mystery piled on top of mystery, and a style imbued with ambiguity is just fine.