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.

Author: Mazunos Gagar
Country: Niger
Language: English (Spanish)
Genre: Business
Published (Last): 9 April 2017
Pages: 380
PDF File Size: 18.65 Mb
ePub File Size: 2.86 Mb
ISBN: 849-1-58911-544-3
Downloads: 49857
Price: Free* [*Free Regsitration Required]
Uploader: Jusho

Black bebop musicians, although they were popular perrseguidor many whites, were often antagonistic to critics and had little interest in being a part of popular culture.

The Pursuer

Johnny, after a moment, is ready to let the discussion of Bruno’s book pass, but Bruno cannot let it go at that.

Bruno can feel better about himself and his “prestige” by convincing himself that because Johnny is a black perseguidoor his “mental age does not permit him to understand” the biography’s profundity.

She lives in Chicago with her daughter Bee, who dies of pneumonia. After heavily criticizing Bruno’s references to religion in his biography, Johnny ironically refers to the biography as “the good book,” which is a corgazar generally used in reference to the Bible.

By then I was fully aware of the dangerous perfection of the storyteller who reaches a certain level of achievement and stays on that same level forever, without moving on, I was a bit sick and tired of seeing how well my stories turned out.

Parker’s debut in Paris rl a tremendous success, and during the following five years he met with a mix of triumphs and disastrous failures due to his personal problems.

Among these, religion; Johnny protests: After a dedication to “Ch. Modern Language Association http: Johnny Carter’s character is in many ways meant to refer to the alto saxophonist Charlie Parker. In “The Pursuer’ I wanted to stop inventing and stand on my own ground, to look at myself a bit. But, he adds, Bruno’s book is missing something.

Persegkidor then she has given him money, sometimes slept with him, shot up heroin with him, and used her unique ability to calm him down and provide comfort when he has needed it. Cite this article Pick a style below, and copy the text for your bibliography. Bruno calls him a “teahead,” or a marijuana smoker, and he sometimes feels sorry for him because Johnny has let him down in Paris.

However, as the story goes perseyuidor, Johnny complains to Bruno that he does not understand his music: Without knowing it, and not like he was making great speeches from the gallows or writing books denouncing the evils of mankind or playing the piano with the air of someone washing away the sins of the world.


The Shadow and the Act: But unlike a writer of fiction, whose success or failure in portraying a character can be measured finally only in their own hearts, Bruno the critic has the opportunity, or the punishment, of coming face to face with the man he has tried to capture in his now-famous biography. One can stay comfortably, and probably successfully, within the borders of one’s art as they have already been mapped.

While he regards Johnny as a Christ-like figure, Bruno regards himself as a sort of priest or proselytizer, spreading the gospel of Persfguidor Carter.

The Birth of Bebop: As Johnny tells Bruno, “what you forgot to put in is me. In he took a post teaching French literature at the University of Cuyo in Mendoza.

These insights, expressed in Johnny’s monologues to Bruno and his other friends, tend to have much in common with some of the new philosophical theories of the s. He is every character who ever begged a writer to give him a heart strong enough, lungs real enough, to truly breathe. Bruno’s narration, which eventually falls into a clear past tense during the last section, continues to remind the reader that the critical and biographical eye is the sole access to imagining Johnny.

The right answer simply can’t be explained.

El perseguidor | work by Cortázar |

Bruno enters, calculating that they have not seen each other in a month. It is a tension that Johnny uses to torment him, even in this early conversation. 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.

In Bruno’s attempt to capture perseyuidor essence of Johnny that was left out of his biography of the jazz musician, he makes many references to God, angels, devils, and religion. He enjoys joking with Tica, and he takes away Johnny’s saxophone after a recording session so Johnny does not sell or destroy it.

Mirrors give faithful reflections. Improvisation, in the content of the story, as writing technique, and the impact upon the reader, has important consequences to understand reality and open doors for the liberation of the creative process.

The s was a decade of great turmoil in the French colonial world, as well as a decade of major political changes in the Hispanic world. Johnny says he liked it but there are things missing. Then Johnny falls asleep and Bruno observes that Johnny is perseguior a genius “walk[ing] in the clouds,” but a man sl real than anyone else.


By using improvisation, he argues that the real mania resides in the accepting of social norms, as in the case of time. Considering his decision not to include Johnny’s psychological and physical abnormalities and illnesses in eprseguidor biography, Bruno asks him again about the book and Johnny responds, “what you forgot to put in is me.

Bruno struggles to express the essence of what makes Johnny and his music so awe-inspiring. Parker, later known as “Bird” or “Yardbird” throughout the jazz world, grew up in an abusive family and developed severe drug habits by the time he dropped out of school at fifteen. Skip to main content. Bruno cortaxar that he is haunted by what Johnny reveals about his own failures and unhappiness and perseguidoe his “prestige,” and he feels sorry for Art because Art could not succeed in Paris without Johnny.

The Pursuer |

Ultimately, Bruno represents Johnny as a Christlike figure who suffers for the sins of mankind, and his own role as that of a preacher, whose task is to testify to the spiritually perseguivor power of Johnny’s cortazaar. As the title of the story suggests, he is interested in the idea of a “pursuer,” which could refer to any number of characters, seeking a variety of goals.

Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.

Instead of mainstream dance music played in ballrooms and large restaurants, bebop music became associated with smoky nightclubs and musicians that ignored their audiences.

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 cirtazar in the story.

El perseguidor

Regardless of Johnny’s coratzar that Bruno remove the religious references from the biography, Bruno decides to leave the second and subsequent editions of the biography as is, without trying to revise it in accordance with Johnny’s criticisms of how he and his music have been represented.

Improvisation, then, transcends the barriers that language creates in the author- reader relationship. Then Johnny arrives, in “great shape” with a moderate amount of drugs in his system and optimistic about the concert that night.