This essay analyses the relationship between narrative form and historical trauma in Toni Morrison’s Beloved (1987). Moving beyond thematic readings of unspeakability, this study argues that Morrison employs specific formal strategies to structurally enact the psychological rupture of the historical Margaret Garner case. Utilising Gérard Genette’s concept of anachrony and Mikhail Bakhtin’s polyphony, the analysis explores how the collapse of linear time and the fragmentation of narrative voice mirror the latency and isolation characteristic of traumatic experience. Furthermore, by applying Joshua Pederson’s understanding of literary trauma, the study examines how the novel’s augmented narrative detail challenges the traditional amnesia model of trauma. The analysis demonstrates that by filtering the central trauma through clinical internal focalization, Morrison exposes the erasure of Black Subjectivity in official historical Grand Narratives. Ultimately, the essay concludes that these formal distortions are functional necessities that position the implied witness to transition from a passive observer to an active participant in an act of ethical witnessing.