"She toyed, sometimes with her unsucked breasts, but at some point her lethargy has dissipated of its own accord and in its place was wilderness, the focused meanness of a flood or an avalanche of snow which only observers, flying in a rescue helicopter, believed to be an indifferent natural phenomenon, but which the victims, in their last gulp of breath, knew was both directed and personal. The calculated violence of a shark grew in her, and like every witch that ever rode a broom straight through the night to a ceremonial infanticide as thrilled by the black wind as by the rod between her legs; like every fed-up-to-the-teeth bride who worried about the consistency of the grits she threw at her husband as well as the potency of the lye she had stirred into them; and like every queen and every courtesan who was struck by the beauty of her emerald ring as she tipped its poison into the old red wine, Hagar was energized by the details of her mission. She stalked him. Whenever the fist that beat into her chest became that pointing finger, when any contact with him at all was better than none, she stalked him. She could not get his love (and the possibility that he did not think of her at all was intolerable), so she settled for his fear." Page 128-129
             Morrison creates a kaleidoscope of different images, characters, and events, to not only incorporate the themes, motifs and symbols of Song of Solomon, but as well as to aid the reader throughout their journey of literary elements and dramatic techniques, which this passage alone is bursting with. Themes that follow the reader throughout the entire novel are also portrayed throughout this passage. Whether it is similes, metaphors, opposites, hyperboles, Morrison does an overwhelming job to put them in the correct form and makes her writing plentiful.
             From the very beginning of this passage the reader notices that Hagar had grown tired and weary from her love for Milkman, but s...