“Cat Person” fits within the genre of Modernist Realism, which tends to be the majority of what the New Yorker publishes. Such pieces deal with a realistic conflict seen in the contemporary, real world, usually between two primary characters, and often centering around dialogue. In the case of “Cat Person,” dialogue propels the narrative forward: It is the basis for Margot and Robert’s relationship—if one could call it that—and sets the tone for how the readers perceive characters other than Margot.

The story focuses on the singular character of Margot; this represents another aspect of Modernist Realism, which often forgoes omniscient narrators for the more limited perspective of a singular character. The story is told in third-person limited omniscient, meaning that Margot is referred to with third-person pronouns (she/her), but readers get a close look inside her head. Readers have access solely to Margot’s thoughts and imaginations, such as when she fantasizes about telling her future imaginary boyfriend about her terrible sexual encounter with Robert. The story filters the other characters through Margot’s lens.