Many critics explore memory, or what "Beloved"’s Sethe calls "rememory", in this light. Susan Bowers places Morrison in a "long tradition of African American apocalyptic writing" that looks back in time, "unveiling" the horrors of the past in order to "transform" them. Several critics have interpreted Morrison's representations of trauma and memory through a psychoanalytic framework. Ashraf H. A. Rushdy explores how "primal scenes" in Morrison's novels are "an opportunity and affective agency for self-discovery through memory" and "rememory". As Jill Matus argues, however, Morrison's representations of trauma are “never simply curative”: in raising the ghosts of the past in order to banish or memorialize them, the texts potentially “provoke readers to the vicarious experience of trauma and act as a means of transmission".