||This thesis will discuss the gothic forms in Toni Morrison's Beloved (1987), using Susanne Becker's argument in her Gothic Forms of Feminine Fictions as a contrast and parallel, to show how Beloved is a rewriting of feminine gothic and what significance it would make to apply such reading to Beloved. While the ghostly plot in Beloved would be the major cue to a gothic reading, I would like to focus on Morrison's writing style and her character design to provide an alternative thinking which derives from Becker's notion of feminine gothic. I attempt to show Morrison's use of a ghostly plot as a means to enthrall the readers into a foreign world of what she intends to unfold about slavery instead of re/defining it as representing the oppressed voice. With the large use of what Arnold Weinstein notes as “body speech” in narration, Morrison reproduces the pain and traumatic memory, "rememory" in Morrison's word, of a slave's life through gothic forms either formally or contextually that are chaotic and disordered. The chances of getting lost during the reading due to such narration style resembles a gothic reading experience what Susanne Becker sees as one of the key components of a gothic novel. Therefore, I will go through several different layers based on Becker's definition of feminine gothic to present the gothic aesthetic of Beloved from the writing construction to the molding of a character's (gothic) role and its significance. By this, I hope to shed a new light to the reading of Beloved that draws the readers closer to Morrison's "rememory".