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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When Johnny descends into another round of addiction and debauchery, his fellow musicians, patrons, and critics gather round, ostensibly to protect him from himself.
El perseguidor | work by Cortázar |
In fact, many of his obsessive rants relate to some of the most pressing philosophical issues of the post— World War II era, particularly in the area of metaphysics, the branch of philosophy that deals with the “nature of reality.
It is an almost universal moment: The author may be suggesting that such racist judgments and simplifications are delusional. Throughout “The Pursuer,” Bruno makes frequent reference to both angels and devils in describing Johnny and his music.
Bruno then receives a telegram from Baby Lennox saying that Johnny has died.
Johnny has not forgotten his early hope, that Bruno’s talent for words will somehow help him to speak what for him is unspeakable. Johnny is repeatedly described by Bruno as a sort of angel or a god. Since 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.
Although her name is Tica, Bruno often refers to Johnny’s friend and sometime lover, the wife now separated of a marquis, as “The Marquesa. Modern Language Association http: When he first brings up his own biography, Johnny refers to fl clumsy metaphor he used in the story’s initial conversation, in which he described being shocked to see his own reflection in a mirror, and his sense that the man looking back could not possibly be him.
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 transcendent power of Johnny’s music. Bruno thus regards his own role as jazz critic as that of a devout worshipper prostrating himself before the awesome power of Johnny’s music. He continued to read foreign literature and published a book of sonnets entitled Crtazar Presence inunder the pen name Julio Denis.
Bruno is like Johnny’s lovers, friends, and fellow musicians who exploit Johnny for their own devices, since Bruno’s book and much of his career is founded on Johnny’s genius.
By the time the story begins, she is already quite worn down by Johnny and the lifestyle they lead. Although Bruno seems to have less sympathy for the women in Johnny’s life, in many ways they seem to be hunted intensely, since Johnny has a tendency to abandon them once he has successfully caught them. Regardless of Johnny’s insistence 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 cortazaar Johnny’s criticisms of how he and his music have been represented.
Parker’s debut in Paris was a tremendous success, and during the following five years he met with a mix of triumphs and disastrous failures pedseguidor to his personal problems. Jazz began in the early years of the twentieth century as a combination of Western classical music and African American folk and blues music.
The Pursuer |
For Johnny, such an idea of time is challenging, and is psrseguidor to by Bruno as one of his ‘manias’ Retrieved December 31, from Encyclopedia. More than the particulars of Johnny’s new and unique vision of the world, this stylistic development is the story’s major contribution to the period’s changing philosophies of art and narrative. Dixieland jazz and swing musicians such as Armstrong were so popular among whites, and made such an effort to please their white critics, that they developed a reputation among some black musicians as “Uncle Toms”—a label from Harriet Beecher Stowe ‘s novel Uncle Tom ‘s Cabin that was used to describe servile or accommodating blacks.
El primero, el dos, el tres, el veintiuno. While the three of them drink rum and coffee, Johnny talks about time, one of his “manias,” or intense obsessions, using the subway and an elevator as examples of time not working in a rational way.
But Johnny “makes up” with her during a recording session, and they remain close until the end of the story, when they both leave Paris persetuidor New York.
Bebop was the musical form of the late s and s American and European counterculture; it occupied a very different political and racial climate, and it tended to be associated with artists, intellectuals, perweguidor big cities. Skip to main content. Bruno thus implies that Johnny, brought to his knees with suffering, is akin to Christ on the cross, suffering for the sins of humanity.
Further, the onlookers seem to derive some comfort or satisfaction from Johnny’s display of suffering, and thus resent Bruno’s efforts to end this display, just as, the narrator suggests, people derive a kind of comfort from the cortazzr martyrdom of Jesus Christ. I wasn’t sure of myself anymore in that story.
In the process, he explores a number of different explanations of the phenomenon of Johnny. Bruno, on the other hand, is a jazz critic and has recently published Johnny’s biography.
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.