When close reading a work of literature, it is obvious that interpretations change from person to person.  Close reading -- or, as we have come to understand, a type of analysis looking at the shape, style, and form of a work -- seeks to understand how. How does the author successfully write in this fashion? How is he using symbolism? How is tone setting the mood? In Edgar Allan Poe's "The Black Cat", Poe uses vivid imagery, dark tones, vindictive symbolism, and heavy foreshadowing to create a short story shrouded in mystery and malice. The overarching meaning in this short story, however, is one that calls into question our very human condition. This story dives into our subconscious curiosity and intrigue in all that is evil and wicked. Furthermore, the short story serves as a grave warning, no matter how well we try to cover up an evil deed, the truth will always prevail. In plain terms, the foremost meaning of this short story is as follows: No matter the degree of fascination with all that is evil and dark in life, we will always gravitate, unwaveringly, back to what is good and truthful. Truth, even in the case of madness, will always conquer and illuminate the dark deeds we have committed. 

In "The Black Cat", Poe, through the narrator, uses vivid imagery to elaborate on the horrible atrocities he commits to his poor cat and innocuous wife. The narrator recounts the murder of his poor cat Pluto by stating -- very matter-of-factly -- that he "slipped a noose about its [the cats] neck and hung it to the limb of a tree" (Poe 2). Further along, the narrator describes how he "buried the axe in her [his wife] brain" and how she, likewise, "fell dead upon the spot, without a groan" (Poe 3). This vivid, gruesome, and matter-of-fact imagery of the atrocities the narrator commits shows his deep, sadistic interest in macabre. 

Through the cloak of madness, our narrator tries to atone for his sins and blame them on his condition. He claims that a "demon instantly possessed [him]", causing him to commit his atrocities (Poe 1). Furthermore, the language and word choice shows the truly psychotic nature of the narrator. He uses large, complex wording and phrasing in a failed attempt to sound worldly and educated. He states, in regards to the cat, that it "followed [his] footsteps with a pertinacity which it would be difficult to make the reader comprehend" (Poe 3). The narrators advanced -- almost excessive -- word and sentence choices make him seem rather Hannibal Lecter-esque. If you have read the novels or seen the movie, you will understand. Hannibal, a ruthless serial killer and cannibal, talks in a very eloquent and calm manner. I see an eerie parallel between Lectors' speech patterns and our narrators. Something about the calmness and matter-of-factness of his writing produces an almost devilish sound -- the utterings of a real madman. 

In addition to the narrator's character of madness, vividly gruesome imagery, and eerily eloquent wording, the narrator uses dark symbolism to paint a chilling scene. First, the narrator describes a "figure of a gigantic cat" with a "rope about [its] neck" which is burnt into the one standing wall of his charred house (Poe 2). Next, he describes the depiction of the gallows in his new cat's fur, going momentarily insane, exclaiming "oh, mournful and terrible engine of Horror and Crime -- of Agony and of Death!"(Poe 3). The symbolism behind these two events, obviously, foreshadows the narrator's own demise. These symbols of death and demise put a very dark picture in my mind. When visualizing the story in my mind, I see it entirely in monochromatic grey tones, similar to an old black-and-white movie. This grey-scale color I envision makes the story even more intriguing. These two examples make for an unnerving and maddening feeling even in the reader. 

The main interpretation of this story, however, is not one of dark symbolism, psychotic ramblings, or gruesome imagery. This story is one that seeks to question our relationship with all that is wicked. The narrator, through the cover of madness, commits unspeakable acts of brutality. He blames his madness, his demons, his alcoholism for all of his problems. He admits responsibility, but does not admit fault. He covers up his wife's murder, convincing himself it wasn't really his fault, it was his madness. In the end, however, the pendulum of choice between good and evil tilts back to its rightful setting. The narrator is so confident in his wicked deeds and so dissociated from his guilt that he willing leads the police into the cellar and, foolishly, brags about the construction and, in extension, his evil actions.

 Getting back to the idea of the human condition, things that are mysterious and even wicked keep our interest. Its like the saying goes, it may be horrible, but you just cannot turn away. We, as readers, are horrified by the narrator's mindless cruelty towards a poor, defenseless cat and the bloodthirsty murder of his wife. We cannot, however, stop reading. Why? Is it something inside us that states that we are inherently evil? Are we all, deep down, craving to commit such acts of terror as the narrator and, when we watch it, it is a sort of relief? I believe not. When we see such atrocities we cannot help but watch because we are inherently good. We want to stop what is happening, we want to help. But, obviously, we cannot. This inherent good is the reason for the pendulum. We have an internal pendulum that ticks between good and bad. The narrator, as hard as he tried to force the pendulum to stay in the bad, was unable to keep his urge for good from giving him up. He may have been insane, but he still, deep down, knew the evil of his ways. The narrator, undoubtedly, gave himself up. There was no screaming, no ghoulish wailing, and the cat -- likely dead -- could not have made enough noise behind the wall. The narrator, in a manic phase and subconsciously craving to do good, made a huge scene and gave himself up. 

In "The Black Cat", Edgar Allen Poe, through the narrator, uses dark imagery, foreshadowing symbolism, and clearly written bouts of madness to let the leader explore the mind of a killer. On this journey through the killer's psyche, we learn a few invaluable things. We learn that, no matter how evil one may seem, deep down, they want to do the right thing in the end. I like to equate this role of fate to a pendulum. We all have the capacity to do good and the capacity to do incredible evil. And, like a pendulum, you cannot have one without the other. If you do bad, it will, like clockwork, swing back to good at some point and you will atone for your sins. The truth, synonymous with good, will prevail. Poe, through the voice of the narrator, proves this theory perfectly. 

