Furthermore, he presumed that this novel was designed to make sure that the view of the black woman being the most scorned and rebuked of the victims of society does not weaken.
According to Ann Snitow, " she harps so on the presence of Beloved, sometimes neglecting the mental life of her other characters" (pp. 25-26). She believed that by sacrificing the other character's vitality until the very end, the novel is left hollow in the middle. However, Snitow did state " If Beloved fails in it's ambitions, it is still a novel by Toni Morrison, still therefore full of beautiful prose, dialogue as rhythmically satisfying as music and scenes so clearly etched they're like hallucinations" (25-26). Snitow compares Morrison's writing style to Dickens, in that she believes that each of them are great, serious writers.
Also, Snitow believes that Morrison sets herself apart from other writers by rejecting irony. She sees the novel as mixing the grotesque with passion and romance; not just irony or zaniness, which is what is normally mixed in contemporary fiction. Furthermore, Snitow believes that the novel revolves and searches for, but never gets any closer to the people that are numbed with overwhelming grief. Overall, Snitow's critique of this novel can be best illustrated by her statement " This novel deserves to be read as much for what it cannot say as for what it can" (25-26).
Rosellen Brown stated " The rhythm of black speech in Morrison's control is complex and versatile, and with it she makes third person narrative sound as intimate as a back porch conversation, and confidences in the first person sound like a dream- (420-21). Brown believed that this novel may be Morrison's most visualizable of all her novels. Also, Brown stated that " Beloved brings us into the mind of the haunter as well as the haunted" (420-21). Brown believes that this is an invitation that no other American writers has offered.