The influential literary critic Tzvetan Todorov introduced a concept of the “fantastic” in the early 1970s to discuss literature of horror, and the idea can be applied usefully to “The Black Cat.” The fantastic, he asserts, explores the indefinite boundary between the real and the supernatural. The fantastic is a literary category that contains elements of both the rational and the irrational. One of the fantastic elements in “The Black Cat” is the existence of the second cat—with the changing shape of its white fur and its appearance on the corpse behind the wall. These plot twists challenge reality, but they do not completely substitute a supernatural explanation for a logical one. It is possible that the plot twists derive only from the insanity of the narrator. As a result, the plot twists, like the fantastic, hover between the real and the supernatural. The resolution of the story is both rationally possible and tremendously unlikely; the cat could inhabit the basement walls, but it is difficult to believe that it would remain silently in the wall for a long time or go unnoticed by the overly meticulous narrator.