the problematics of motherhood in twentieth century women's fiction

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Denver recounts another portion of the story of her own
birth, and the omniscient narrator provides more. The bas~c
details get modified depending upon who 1s relatrng the
story to whom. Beloved learns her family history and fills
in the gaps In her llfe she cannot remember, through her
mot:ler's story
The daughters become inheritors of the
mother's story, the black mother becomes the female
precursor who passes on the authority of authorship to her
daughter and provides a model for the black woman's presence
In society.
5.3.7.1. The narratlve structure of Beloved eschews
contlnulty and chronolog~cal sequencing
Past consciousness
and present reallty colllde wlthln the text's fragmentary
narrative. The narrat~ve lourney goes forward loaded wlth
memorles of the past
narratlve. Ann Snltow observes
Wrltlng about thls fractured
Morrlson doesn't really tell these lncldents
Brts and pieces of them leak out between the
closed evellds of her characters. or between thelr
clenched' flngers She twlsts and tortures and
fractures events untll they are little sllvers
that cut She moves the lurid materlal of
melodrama into the mlddle of her people, where ~t
gets sifted and sorted, llved and rellved, untll
~t acquxres the enlarging outllnes of myth and
trauma, dream and obsession (Snltow 1990.27)
Out of this leaking, twrsting, torturzng, sifting, sortxng
and re-livlng, the doubly invlslble black female story comes
to the foreground. Although Beloved is specifically Sethe's