![]() 13 Lynda Koolish, “Fictive Strategies and Cinematic Representations in Toni Morrison’s Beloved: Postco (.).According to Lynda Koolish in the African American Review (1995), Beloved moves between modern fictive autobiography and archetypal narrative (in this case, borrowed from a slave), which becomes : 12Ĩ The internal battles waged to move beyond slave history and on to freedom are brought to light. Beloved assumes the role of that slave history as she emerges from darkness where restless spirits move about (248-49), her incarnation from the depths of the Ohio River symbolizing both life and rebirth into a world where memories have kept her alive. ![]() At the very heart of the narrative is the premise that this unspeakable and unaddressed part of North American history full of horror and heartbreak where more than sixty million slaves were caught up in genocide 11 had died badly. 10 The scenes may not have been as confusing to viewers who had not read the novel as they were inconceivably-and irreconcilably-painful.
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