 Which of the following describes Pop's attitude toward Sattell?
His name was Sattell and he had reason not to talk. The shack and the job he filled were located in the medieval notion of the physical appearance of hell. By night—lunar night, of course, and lunar day—it was frigidity and horror. There is nothing like it on Earth, of course. Pop lived in it all alone, and in his spare time he worked industriously at recovering some missing portions of his life that Sattell had managed to take away from him. But Sattell couldn't comfort himself so easily. Sattell got the shakes when he thought of Pop, and Pop rather probably knew it. And Sattell turned gray and frantically denied that he'd ever seen Pop before. All of which happened back on Earth and a long time ago. And Sattell went into panic when he returned. At such times Pop hardly thought of Sattell. He'd started to follow Sattell knowing what had happened to his wife and children, but it was hearsay only. When Sattell fled to another continent, Pop followed because he had some distinct memories of his wife—and the way he'd felt about her—and some fugitive mental images of his children. When Sattell frenziedly tried to deny knowledge of the murder in Tangier, Pop had come to remember both his children and some of the happiness of his married life. Even when Sattell—whimpering—signed up for Lunar City, Pop tracked him. If so, Sattell had profited by less than two days' pay for wiping out everything that Pop possessed. In any case, he didn't really want Sattell to die. The sun rose very, very slowly in what by convention was called the east. Near Sattell, he found memories of times when he was a young man with a young wife who loved him extravagantly. And when he was near Sattell he literally recovered them—in the sense that he came to know new things about them and had new memories of them every day. Otherwise, he was wholly matter-of-fact—certainly so for the far side of the Moon. The sun rose, and baked the abomination of desolation which was the moonscape. Sattell clearly remembered the crime Pop Young hadn't yet recalled. He wrote with the desperate, impassioned, frantic blend of persuasion and information and genius-like invention of a prisoner in a high-security prison, trying to induce someone to help him escape. But then an event occurred which bore directly upon Pop Young and Sattell and Pop Young's missing years. It didn't seem to have anything to do with Pop or with Sattell.
 obsessive
 obsessive  delirious  ambivalent  vengeful