<![CDATA[Within the broader study of the discursive strategies of African American writers in American literature, this article analyses the neologism “rememory” in Toni Morrison’s Beloved (1987) as a fully developed discursive structure for representing a historical trauma — chattel slavery and the Middle Passage — that resists conventional narration. Where official archives systematically excluded the interior life of the enslaved, Morrison constructs a counter-discourse in which the past is figured as materially persistent, spatially located and bodily inscribed. Integrating trauma theory (Caruth, LaCapra, Herman), cultural-memory studies (Halbwachs, Assmann, Eyerman) and the critical grammar of Hortense Spillers, the study identifies four discursive operations through which rememory functions: the externalization of memory into place; the embodiment of history as corporeal text; ghost discourse as the return of the repressed; and fragmented, non-linear temporality as the formal correlate of traumatic experience. The article concludes that rememory constitutes both a theme and a method, converting the reader from a recipient of information into a participant in a community of witness.]]>
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