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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Finding the red dress she is wearing during the opening scene repulsive, Bruno notices that she has “gotten older.

Throughout “The Pursuer,” Bruno makes frequent reference to both angels and devils in describing Johnny and his music. Trudell is a freelance writer perseguidr a bachelor’s degree in English literature.

In he made his first recordings, in he joined Billy Eckstine ‘s band, and by he had changed jazz music forever. Many black musicians began to be dissatisfied with the strict forms of big band or “swing” music during the s, however, and bands with a new sound known as “bebop” began to earn a reputation because of their radical rhythms and experimental tonality. While he regards Johnny as a Christ-like figure, Ocrtazar regards himself as a sort of priest or proselytizer, spreading the gospel of Johnny Carter.

Delaunay is from Paris and seems to be a manager or producer of some kind, since he persegguidor things in the studio but does not play an instrument. Y no es culpa tuya no haber podido escribir lo que yo tampoco soy capaz de tocar. Siglo Veintiuno Editores, The most important stylistic technique of “The Pursuer” is its unique use of past, present, and future verb tenses to narrate the story.

When Johnny descends into another round of addiction and debauchery, his fellow musicians, patrons, and critics gather round, ostensibly to protect him perseguidod himself.

cortaazr In many ways, Tica’s character is based on the Baroness Pannonica “Nica” de Koenigswarter, perxeguidor benefactor and socialite who befriended and financially supported many jazz musicians, including Charlie Parker and Thelonious Monk. It is a tension that Johnny uses to torment him, even in this early conversation. Their problem is that Johnny is still a living man, still capable of defying everything they think, or have written, about him. Improvisation allows the musician to enter into a face-to-face dialogue with other musicians, demonstrating their own abilities and creative skills.

However, by the end of the story, Johnny’s combination of intriguing cortaazar tormenting Bruno results in Bruno’s refusal to include Johnny’s complex personal life in the second edition of the biography. Remember me on this computer. Johnny tells Bruno that, when he plays the saxophone, he is able to find temporary relief from the stresses of “the mortgage and the religion. While Johnny is described variously as an angel, devil, or god, Bruno also describes Johnny’s followers as angels of a sort.

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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. The author in this case does not impose an image or societal model upon its readership. 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.

Indeed, one fortazar the most important “pursuers” is the reader of the story, hunting through the text in order to discover its meaning. I wasn’t sure of myself anymore in that story. 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 One of the first barriers the reader encounters, as well as one of the most important, is the divide between the fictional world of the story and the real world of the s Parisian bebop scene, particularly the real life of Charlie Parker.

Bruno is like Johnny’s lovers, friends, and fellow musicians who persegiidor Johnny perseguisor their own devices, ce Bruno’s book and much of his career is founded on Johnny’s genius.

The Pursuer |

One can stay comfortably, and probably successfully, within the borders of one’s art as they have already been mapped. Musicians such as Louis Armstrong soon became extremely popular with both 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.

Parker, like Johnny, was able to move in and out of normal understandings of time and rhythm in order to create an entirely new understanding of music. He is every reader who ever depended on a writer to express for him the one thing he has never known how to put into words, the only thing he has ever really wanted to say, the only thing that means anything.

Bruno then receives a telegram from Baby Lennox saying that Johnny has died. 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. Later, Johnny refers to the “holes” in his hands, an image which evokes the stigmata of Christ, whose hands were nailed to the cross.

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. Logic, in this sense, is understood as the precepts of the dominant culture to be followed by individuals. 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.


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. And the Cuban socialist revolution in was extremely influential over the left-wing Hispanic elite. Marcel is Johnny’s friend and fellow musician, likely a trumpet player from the United States.

El perseguidor

And Johnny hopes that Bruno, with words at his command, may have some way to express what the mirror cannot. Bebop was the musical form of the late perzeguidor and s American and European counterculture; it occupied a very different political and racial climate, and it tended to be associated with artists, intellectuals, and big cities.

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.

While modernist writings tend to stress the unity of the work of art and frequently employ allegorical representation, postmodernist texts often call into question the very possibility pperseguidor representation and highlight metaphysical problems, or problems that relate to the “nature of reality. 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.

At the same time, Johnny struggles with his own limits, always catching glimpses of a revelation he can never fully fathom, playing music that carries him far beyond the boundaries of conventional forms but into a land that he can only stutter about brokenly upon his return.

El perseguidor | work by Cortázar |

In explaining his childhood to Bruno, he equates both his parents’ fights over money specifically, over their home mortgage with the religion they imposed upon him as aspects of his childhood that he found unbearable.

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

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:

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