El perseguidor: Julio Cortázar: The main character of “El perseguidor” (“The Pursuer”), one of the stories in Las armas secretas, embodies many of the traits of . In , the Argentine writer Julio Cortázar published a short story entitled “El Perseguidor” (“The Pursuer”) that vividly brought to life the bebop scene of s . Julio Cortázar: El perseguidor. El perseguidor. Falsa biografía del músico de Jazz Charlie Parker, representado por el personaje de Jonnhy.

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He recognizes ;erseguidor the “terrible beauty” of a song like Amorous is an important artistic development, and his language is an attempt to translate the sense of this style into the form of a short story. Tica is both an enabler for Johnny’s drug addictionsince she is the person who most frequently supplies him with heroin, and a sophisticated and generous friend that often saves him in social situations. Bruno is able, again and again, to translate Johnny’s speech, which often borders on nonsense, back into comprehensible language.

Like Tica, Nica separated from her rich husband because of “dope and other, similar, reasons,” and moved to New York and then Paris in pursuit of the bebop scene. Some critical analyses of “The Pursuer” have tended to focus on its portrayal of Charlie Parker and bebop music, as well as its theme of the relationship between the artist and the critic.

However, Bruno in the end expresses a certain ambivalence about his role in relationship to Johnny and Johnny’s music. In he took a post teaching French literature at the University of Cuyo in Mendoza. But he is always left with the sense that he has, perhaps, lost something in the translation, that he has not gone with Johnny over the boundaries, merely brought him back. Bruno’s narrative is an attempt to make up for the element that was “missing” from his published biography of Johnny.

It creates an artificial model that accepts conventionalisms and simplifies jazz improvisation. Yet Bruno seems to be the only person aware that he is doing this, and Bruno also as becomes clear while he is listening to Amorous understands Johnny’s music, as well as his obsessions and philosophies, better than any of the other characters.


As Sommer notes her article in “Pursuing a Perfect Present,” “The Pursuer” constantly draws attention to its departure from typical past tense narrative by using a “clumsy,” “redundant,” and “anxious present perfect tense. Or one can strike out into uncharted waters, unknown lands. Bruno describes Johnny’s “supreme indifference” to the wellbeing of those around him, stating, “Johnny doesn’t give a good [g——d——] if everything goes to hell.

Johnny thus mocks Bruno’s representation of his music cirtazar a religious phenomenon. A Social and Musical History. It is an almost universal moment: Confusing reality with fiction, Bruno mentions an interview with Miles Davisthe famous jazz trumpeter who played with Charlie Parker during the peak of his career in New York. Johnny is recovering from another bout of heavy drinking and drug use, he has once again lost his sax, and he is in a perseguuidor mood.

Later, Johnny refers to the “holes” in his hands, an image which evokes the stigmata of Christ, whose hands were nailed to the cross. Throughout his youth he developed a passion for classic literature, but he was forced because of his family’s financial situation to drop out of the University of Buenos Aires after one year and become a teacher.

As Bruno admits, “we’re a bunch of egotists; under the pretext of watching out for Johnny what we’re doing is protecting our idea of him.

El perseguidor

Although Bruno admits that he is an “egoist” trying to protect his “idea” of Johnny, he later comes to recognize that Johnny is often the “hunter” chasing and tormenting his biographer. The right answer simply can’t be explained. Persehuidor Johnny arrives, in “great shape” with a moderate amount of drugs in his system and optimistic about the concert that night. Mirrors give faithful reflections.


The Pursuer |

In describing the effect of Johnny’s music on him, Bruno asserts, “he played like I imagine only a god can play an alto sax, given that they quit using lyres persefuidor flutes.

Modern Language Association http: The character of Johnny Carter is modeled after jazz musician Charlie Parker. And the Cuban socialist revolution in was extremely influential over the left-wing Hispanic elite. Inthe author published his most famous novel, Rayuela Hopscotchwhich employs a revolutionary narrative structure by way of chapters that are not read in chronological order but can be skipped through in at least two coherent sequences.

In many ways, Tica’s character is based on the Baroness Pannonica “Nica” de Koenigswarter, a benefactor and socialite who befriended and financially supported many jazz musicians, including Charlie Parker and Thelonious Monk.

This relates to the rhythmic innovations of his music and the fact that he is a “pursuer” or “hunter,” which Bruno sees as a desperate struggle to find a crack in the “door” and discover a new way of thinking about the world. Brent holds a Ph. Musicians such as Louis Armstrong soon became extremely popular with perseguior white and black audiences, and by the time the “big band” era peaked in the s, jazz was the mainstream music of the United States.

Julio Cortázar: El perseguidor by borja borja on Prezi

Through jazz Johnny is able to create a reality where he is found in dialogue with other musicians. The change of position is a symbol of the change in the tone of voice, in what the voice is about to articulate, in the diction itself.

Bruno is overtly racist towards Johnny, calling him a “crazy chimp” and even a “savage,” yet he also admits that “what I’m thinking is on a lower level” than Johnny.