Choice C.questioning definitions of the people
Loren, the new manager, is the <u><em>antithesis</em></u> of compassion; just yesterday, she fired two people because they were late to work once this week. Corporate headquarters, upset with declining sales, appointed Loren to replace a[n] <u><em>impotent</em></u> manager who had been spotted on the golf course during work hours one-too-many times. Loren's many changes and <u><em>emendation(s)</em></u><em> </em>to company guidelines caused a[n] <u><em>maelstrom</em></u> in both the warehouse and the salesroom. Employees faced evaluations and new instructions that drove many to resign; however, it was part of Loren's plan. The people who quit, she reasoned, were just <u><em>impediment</em></u> to meeting the expected monthly profit margin. Loren spent the first two weeks familiarizing herself with the <u><em>labyrinth</em></u> of shelves and palettes in the warehouse. Shreds of textiles littered parts of the packaging area; some were hefty snippets of wool, and others were <u><em>diaphanous</em></u> scraps of silk that hovered in the gust created by passing forklifts. She occasionally stopped to introduce herself to the workers, but she ceased her introductions after noticing the regular look of <u><em>chagrin</em></u> on workers' faces as they scrambled to look busy or stumbled over the proper responses to her questions. After the first round of resignations-and, firings, most of the workers were intimidated by Loren's <u><em>bestial</em></u> management techniques.
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Answer:
At the conclusion of the narrative, the narrator discovers that the lady has died. Because they do not want Henry to recall anything until he is inebriated.
Literature and the Holocaust have a complicated relationship. This isn't to say, of course, that the pairing isn't a fruitful one—the Holocaust has influenced, if not defined, nearly every Jewish writer since, from Saul Bellow to Jonathan Safran Foer, and many non-Jews besides, like W.G. Sebald and Jorge Semprun. Still, literature qua art—innately concerned with representation and appropriation—seemingly stands opposed to the immutability of the Holocaust and our oversized obligations to its memory. Good literature makes artistic demands, flexes and contorts narratives, resists limpid morality, compromises reality's details. Regarding the Holocaust, this seems unconscionable, even blasphemous. The horrors of Auschwitz and Buchenwald need no artistic amplification.