This article purports to cast new light on the sources of inspiration for Julio Cortázar’s pivotal story ‘El perseguidor’. In particular, it aims to. 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 . Brenes Reyes, p. 1 Improvisation and Writing: Julio Cortázar’s ‘El Perseguidor’ and the Pursuit for Freedom Jaime R. Brenes Reyes In the words of Argentine.

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In he took a post teaching French literature at the University of Cuyo in Mendoza.

Bruno struggles to express the essence of what makes Johnny and his music so awe-inspiring. He enjoys joking with Tica, and he takes away Johnny’s saxophone after a recording session so Johnny does not sell or destroy it.

Wallace is a writer and poet. That Bruno regards Johnny’s musical abilities as godlike is further expressed when he struggles to describe the awe-inspiring effect of Johnny’s live performance at a club one night, observing. He has abandoned his wife, children, and an unknown number of other lovers, he continually loses or sells his saxophone, he fails to come to performances or refuses to play while there, he has a tendency to be suicidal, and it is sometimes necessary to confine him to a psychiatric hospital because he is a danger to himself or other people.

The Pursuer

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. Tica goes over to deal with Johnny while Bruno flirts with Baby and finds out from two musicians in Johnny’s new group that Johnny is “barely able to play anything.

Pepe is the musician who talks with Art and Delaunay about Lester Youngthe alto saxophonist that was Charlie Parker’s hero when he was growing up, in the hotel after Johnny learns that his daughter died.


Finding the red dress she is wearing during the opening scene repulsive, Bruno notices that she has “gotten older. Johnny, after a moment, is ready to let the discussion of Bruno’s book pass, but Bruno cannot let it go at that. Cortazar’s persegiidor story “The Pursuer” is narrated by jazz critic Bruno V.

And Johnny hopes that Bruno, with words at his command, may have some way to express what the mirror cannot. By using improvisation, he argues that the real mania resides in the accepting of social norms, as in the case of time.

El perseguidor

In Bruno’s attempt to capture the essence of Johnny that was left out of his biography of the jazz musician, he makes many references to God, angels, devils, and religion. Bruno fe enough persfguidor to include an obituary notice in the second edition of his biography, which he feels is now “intact and finished.

The most famous of the early bebop bands were those of Billy Eckstine and Dizzy Gillespieand their popularity was in no small part due to the fact that they had hired an alto saxophonist from Kansas named Charlie Parker.

I wasn’t sure of myself anymore in that story. Then Johnny falls asleep and Bruno observes that Johnny is not a genius “walk[ing] in the clouds,” but a man more real than anyone else. Other critics, such as Doris Sommer in her essay “Pursuing a Perfect Present,” discuss the relationship of the critic and the artist as it relates to the story’s innovations in narrative structure: Bruno feels that Marcel, like Art, fails to understand Johnny as well as he does.

Perhaps this is one reason Johnny continually loses his saxophone; he desires to be taken not simply for his music but for himself. The twenty-year-old beauty that goes back to New York with Johnny at the end of the story, Dortazar is one of Johnny’s admirers.

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Art is a musician, perhaps a bassist, and a friend of Johnny. Parker suffered a number of major breakdowns, due to his psychological illnesses and drug addictions, and spent a six-month term in a state hospital in Davis was, together with Parker, one of the most influential jazz musicians of the bebop era.

Johnny is ahead of his time, struggling to reach a new level of existence, and normal society, including his biographer Bruno, is ultimately unable to accept or understand him. He tells Bruno, “I don’t want your God, he’s never been mine.

El perseguidor | work by Cortázar |

Bruno becomes more specific in his comparison of Johnny Carter to Jesus Christ toward the end se the story. Her death is quite a blow to Johnny, who later says about his music: After heavily criticizing Bruno’s references to religion in his biography, Johnny ironically refers to the biography as “the good book,” which is a phrase generally used in reference to the Bible. While Bruno describes Johnny’s music in religious terms, Johnny describes his own relationship to organized religion as contentious.

But “The Pursuer” uses a fictional medium to approach the famous jazz musician, and Johnny is presented as a fictional character, so in this sense the story is not strictly biographical fiction, but fiction inspired by real persons and events.

Bruno then receives a telegram from Baby Lennox saying cotrazar Johnny has died. Bruno finds out that he was at Tica’s place and likely died of a severe drug overdose. The Birth of Bebop: One of the most disorienting examples of this practice is the fact that Miles Davis, the famous jazz trumpeter who played with Parker, is a character mentioned in the story.