Robert Ferguson speaks of “untold stories of law” (84); The novel Beloved by Toni Morrison contains both untold stories in the field of law and untold stories in history. Morrison uses every character from Beloved "Sethe, Baby Suggs, Denver, Beloved, Paul D., etc." " as a representation of the complex ideas of collective conflict, collective oppression, repression and repression, which each slave in one way or another personally. encountered - ideas that the law was specifically written to permit neither expression nor documentation. Furthermore, Morrison uses his novel to bring to the forefront debate and awareness of the collective attitude of denial, inequality, and to point the finger at us, society as a whole, as guilty of the crime of forgetting memories of “Sixty Million and More”. "(dedication) of the slaves who never completed the journey to our shores. In this article, I will answer the question: why does Morrison's story succeed in telling what Ferguson calls an "untold story in the law » ?This article builds on the fact that Ferguson read alongside Morrison and allows: (a) Ferguson's importance to extend beyond that of the courtroom, into history and literature, and (b) the importance of Morrison's novel in extending beyond that of the fictional slave narrative, into a means of inspiring social change through discussion of the inequalities of the past and present, believing that remembering the past is the key to a colorblind future To answer the question of why Morrison's story succeeds, we must first accept Ferguson's theory of courtroom storytelling. Ferguson's theory asserts that trial relies on competitive storytelling, as such: [T]he competition between stories places a high priority on the speed of storytelling in courtrooms. The most credible story, by definition, will match what competing lawyers are always looking for: contemporary understanding. (86) Ferguson's theory continues to assert: [T]he struggle of lawyers to find the best accounts for their clients turns courtroom transcripts into excellent barometers of what is said and thought in a culture at some point… On the other hand, advocates also know that jurors must first recognize the developing contours of a story to accept it, and this perception makes them practical students of pre-existing narrative forms . (87) Once we accept Ferguson's theory, we can use it to extrapolate beyond the courtroom, to illuminate successful storytelling as a whole. Using Ferguson's criteria, for a story to be successful, it must be told appropriately for its content. aim; furthermore, a story must take into account each account of an event and be seen by its audience, the readers in the case of a written story, as the most probable and convincing account of what happened..