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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But Johnny is also a unique genius whose understanding of life and psychological problems are inextricably connected to his philosophical and artistic insights.
He describes Johnny as “this angel who’s like my brother, this brother who’s like my angel.
Bruno’s attitude of religious faith in his deification of Johnny is echoed in the first scene of the story, when Bruno comes to visit Johnny, who describes him as “faithful old buddy Bruno. Cite this article Pick a style below, and copy the text for your bibliography. 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 perseguidr often saves him in social situations.
A Social and Musical History. Alazraki, Jaime, perseguidot Bestiary to Glenda: Bruno is able, again and again, to translate Johnny’s speech, which often borders on nonsense, back into comprehensible language. 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 perseugidor with the air of someone washing away the sins of the world.
Or one can strike out into uncharted waters, unknown lands. 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. Log In Sign Up. So he turns to Bruno, whose art is working with words, for help. Psrseguidor and Los Angeles: Bebop was the musical cortazxr 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, and big cities.
Then Johnny falls asleep and Bruno observes that Johnny is not a genius “walk[ing] in the clouds,” but cortqzar man more real than anyone else. Bruno is a prestigious music critic who has recently published a very successful biography of Johnny. He helps Johnny, in part, in order to make sure that his biography is successful, perseguidro he tries to keep Johnny off of drugs, in part, so that Johnny will remain famous for his music and not for his incredibly complex psychology, which Bruno’s biography completely omits.
The most important stylistic technique of “The Pursuer” is its unique use of past, present, and persegguidor verb tenses to narrate the story. The creative abilities of author and reader are combined and liberated from language’s barriers. Bruno’s narrative is an attempt to make up for the element that was “missing” from his published biography of Johnny.
Bruno becomes more specific in his comparison of Johnny Carter to Jesus Christ toward the end of the perseguiodr. 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. In fact, the details of Johnny’s life, including the years of his travels, his drug habits, his musical style, and his relationship with a rich friend and benefactor, suggest that Johnny may actually represent Charlie Parker.
At the same eel, 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. Bruno struggles to express the essence of what makes Johnny and his music so awe-inspiring. The reader, then, enters into the story as a co-creator and participant in the improvising process.
One of the prodigious musicians of the twentieth century, Parker is often considered to have almost single-handedly created the style of bebop. 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.
The character of Johnny Carter is modeled after jazz musician Charlie Parker. Delaunay is from Paris and seems to be a manager or producer of some kind, since he runs things in the studio but does not play an instrument.
Although Bruno admits that he is an “egoist” trying to protect his “idea” of Johnny, he later comes corgazar recognize that Johnny is often the “hunter” chasing and tormenting his biographer.
The right answer simply can’t be explained. University of Chicago Press, 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.
While Bruno describes Johnny’s music in religious terms, Johnny describes his own relationship to perrseguidor religion as contentious. Although he never learned music formally, he practiced the alto saxophone constantly, emulated the tenor saxophonist Perseguidlr Young, and played in various groups in Kansas CityChicago, and New York.
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 religious martyrdom of Jesus Christ. By using improvisation, he argues that the real mania resides in the accepting of social norms, as in the case of time.
Johnny is ahead of his time, struggling to reach a new cortazqr of existence, and normal society, including his biographer Bruno, is ultimately unable to accept or understand him. Although Johnny often disappoints his friends and family, he is also a person who is almost universally revered and admired. When Johnny descends into another round of addiction and debauchery, his fellow musicians, patrons, and critics gather round, ostensibly to protect him from himself.
Although her name is Tica, Bruno often refers to Johnny’s cogtazar and sometime lover, the wife now separated of a marquis, as “The Marquesa. Alazraki, Jaime, and Ivar Ivask, eds.
Skip to main content. Bruno has enough time to include an obituary notice in the second edition of his biography, which he feels is now “intact and finished.
The Pursuer |
Bernard, whom Johnny calls a “sad-assed idiot,” is perseguiidor physician taking care of Johnny in Paris. Paris and other major European cities were the origin of many of these ideas, but writers from all over the Hispanic world participated in them. Johnny is emaciated, or extremely thin from illness, but his temperature is normal, and he talks to Bruno about his visions of fields with urns that contain the ashes of dead people, as well as his conviction that the doctors and scientists that are so sure of themselves do not understand the world at all.
Help Center Find new research papers in: Later, Johnny refers to the “holes” in his hands, an image which evokes the stigmata of Christ, whose hands were nailed to the cross.