Robert Ferguson talks about 'untold stories in the law' (84); Toni Morrison's novel Beloved contains both the untold stories in law and the 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, that each slave somehow personally encountered – ideas that the law was specifically written to allow neither expression nor documentation. Furthermore, Morrison uses his novel to bring to the fore discussion and awareness of the collective attitude of denial and inequality, and point the finger at us, society as a whole, as guilty of the crime of forgetting the memories of the "Sixties million and more." " (dedicates) 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 starts from the fact that Ferguson read with Morrison and allows: (a) the meaning of Ferguson to expand beyond that of the courtroom, into history and literature, and (b) the meaning of Morrison's novel to expand beyond that of fictional narrative about slaves, in a means to inspire social change through discussing 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 states that the process is based on competitive storytelling, as such: [T]he competition between stories places a high priority on timeliness in courtroom storytelling. The most credible story, by definition, will match what competing lawyers always seek: contemporary understanding. (86)Ferguson's theory continues to state:[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 a given time. moment... 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 the narrative of success as a whole. Using Ferguson's criteria, for a story to be successful, a story must be told appropriately for its context. scope; furthermore, a story must consider any account of an event and has been seen by its audience, readers in the case of a written story, as the most probable and compelling account of what happened.