Cat Person isn't a bad story per se, but you can't help but get the feeling that its strengths were implemented by accident. Most of the discussion centers around its stark depiction of modern dating, the way it is increasingly intermediated by technology, and the feelings of detachment and ambiguity that arise as consequence. Though these themes are present, their importance to the narrative is grossly overstated: they remain underdeveloped throughout its entirety. This critical preoccupation with themes that are, at best, amateurishly executed, may at first appear to be little more than a failure on the part of literary circles to give a controversial story its proper due, until one realizes that this preoccupation is not a mere accident, but a deliberate (if unconcious) deception.
For all the story's flaws, at its center is a white hot core, something that not only probes at the edges of acceptable discourse, but, counterintuitively, miraculously, even, has exploded into the mainstream. Because this core is authentically transgressive, it is unspeakable, and cannot be openly described; at least, not in the pages of a magazine so culturally ossified as the New Yorker. Hence the diversion, the neurotic compulsion to pick around the edges, even as it becomes clear that critic's analysis grows heavy with absence. No, the most intriguing element of 'Cat Person' lies not in its depiction of technology, but in its examinations of the contradictions that arise between contemporary truisms about sex and morality, and the lurid reality of actual sexual attraction.
With the coming of the 21st century, we have seen the emergence of a new discourse around 'ethical masculinity.' That 'masculinity' must be prefaced with 'ethical' reveals the implicit bias: the sentiment, now almost universal amongst the cultural elite, that ordinary masculinity, alone and unqualified by any other modifiers, is intrinsically unethical: boorish, insensitive, violent; not merely associated *with*, but defined *by* exploitation and privilege. In a word: toxic. To remedy masculinity of these faults has become something of a cultural project, spanning decades. Now, informed by the insights of social justice, the notion and image of a 'healthy masculinity' has become increasingly accepted: the modern man is sensitive. He is a pacifist. He is physically nonthreatening. He not only recognizes his privilege, but takes active steps to disassemble his cultural hegemony.
It would be hyperbolic to say that Robert exemplifies this description. However, few would characterize him as traditionally masculine. He is socially awkward, docile, introverted. He is kind (if slightly dull). He is your prototypical "nice guy." Barring a few brief lapses, his behavior lies comfortably within the margins of acceptable masculinity. He adheres to the standards set by feminist convention.
And yet Margot finds him repulsive.
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