I would contend that this is the same dynamic we find in "Woods." The aforementioned blog also delves into how the natural world in “Woods” is described in human terms, while people are described so in those more animalistic. The businessman's serpentine features fit cleanly into O'Connor's Christian ethos, and the clay motif also instills in the story a realism you can almost smell.
The ending is also quintessential O'Connor, the imagery vague and haunting, recalling yet another O’Connor work, "The River" and, to a lesser degree for me, "The Turkey." When I read "Woods" it did not matter to me the actual fate of the girl at the end. The author's deft craft conveys what the reader needs to know, that she has crossed to the other side, has left this world, entirely -- tainted and scarred as it is -- all chances for redemption, but Fortune's dream.
(Michael K. Gause)