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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Johnny cortszar mocks Bruno’s representation of his music as a religious phenomenon. She became quite famous, or infamous, after Parker died in her New York luxury apartment from complications due to drug and alcohol abuse.

He enjoys joking with Tica, and he takes away Johnny’s saxophone after a recording session so Johnny does not sell or destroy it. Why’ve you made me accept [your God] in your book?

El perseguidor | work by Cortázar |

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.

Also, Bruno is one of the people who is always taking care of Johnny and giving him what he needs. Bruno’s entire career is, in a sense, based on “pursuing” Johnny and Johnny’s musical talent.

As Johnny tells Bruno, “what you forgot to put in is me. 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.

Bruno finds out that he was at Tica’s place and likely died of a severe drug overdose. Bruno thus implies that Johnny, brought to his knees with suffering, is akin to Christ on the cross, suffering for the sins of humanity. Two months before the opening of “The Pursuer,” Johnny had a falling-out with Tica, which is why Bruno is the one to pay for a new saxophone when Johnny loses his on the metro.

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

Later in his life, he married the Canadian writer Carol Dunlap. In many ways, Tica’s character is based on the Baroness Pannonica “Nica” de Koenigswarter, a benefactor and socialite who befriended and financially supported many jazz musicians, including Charlie Parker and Thelonious Monk. 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.


Bruno calls him a “teahead,” or a marijuana smoker, and he sometimes feels sorry for him because Johnny has let him down in Paris. 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.

Although he never learned music formally, he practiced the alto saxophone constantly, emulated the tenor saxophonist Lester Ep, and played in various groups in Kansas CityChicago, and New York.

The author in this case does not impose an image or societal model upon its readership. I wasn’t sure of myself anymore in that story.

Bruno, on the other hand, is a jazz critic and has recently published Johnny’s biography. Davis was, together with Parker, one of the most influential jazz musicians of the ell era.

Cite this article Pick a style below, and copy the text for your bibliography. The Birth of Bebop: The change of position is a symbol of the change in the tone of voice, in what the voice is about to articulate, in the diction itself. But, he adds, Bruno’s book is missing something. And the Cuban socialist revolution in was extremely influential over the left-wing Hispanic vortazar.

El perseguidor

After Johnny’s death, he slaps together a quick obituary in time for the second printing of pefseguidor false biography, further cementing Johnny in the jazz pantheon in which Bruno insists he belongs, and further obscuring the real man and his tortuous, failed search. In his writing the rhythm transmits a tension within the text that places the reader outside of his daily environment.

Bruno has enough time to include an cortaaar notice in the second edition of his biography, which he feels cortwzar now “intact and finished.

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. Finding the red dress she is wearing during the opening scene repulsive, Bruno notices that she has “gotten older. Nevertheless, Bruno seems to allow the reader much closer to Johnny’s real self and the essence of his musical talent than, presumably, his biography does, because Bruno exposes Johnny’s desperate drug abuse problems and philosophical perxeguidor Johnny’s “me” in addition to his music.

So he turns to Bruno, whose art is working with words, for help.

The Pursuer

These insights, expressed in Johnny’s monologues to Bruno and his other friends, tend to have much in common with some of the cprtazar philosophical theories of the s. 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.


The character of Johnny Carter is modeled after jazz musician Charlie Parker. But he is always left with the sense that he has, perhaps, lost something in the translation, that he has not gone with Johnny over the boundaries, merely brought him back.

Skip to main content. When he recovered, however, he made what are generally considered his best recordings, with musicians such as the trumpeter Miles Davis and the drummer Max Roach. 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. Whereas in previous stories the characters followed the situation described by the narrator, in ‘El Perseguidor’ the characters create the story.

For Johnny, such an idea of time is challenging, and is referred to by Bruno as one of his ‘manias’ Siglo Veintiuno Editores, The narrator of the story, he is a Parisian intellectual who, although he is close friends with Johnny and the jazz crowd, does not take drugs or mix in much with their social life.

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. ByFrance had finally lost a costly war in colonial Indochina, and in a rebellion in Algeria by a combination of colonials and militarists effectively toppled the French government, resulting in Charles de Gaulle being called back to power as president of France. He died of leukemia and heart disease in Paris on February 12,three years after becoming a French citizen.

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. Bruno is able, again and again, to translate Johnny’s speech, which often borders on nonsense, back into comprehensible language. Johnny’s youngest daughter with Lan, Bee dies of pneumonia in Chicago.

And Bruno is able to help him communicate, to a point, translating Johnny’s almost incomprehensible assertion that “I’m playing that tomorrow” into clear, even lyrical, critical language: 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.

In addition to references to Johnny as an angel or devil, Bruno regards him as a kind of god.