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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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 has abandoned his wife, children, and an unknown number of other lovers, he continually loses or sells his saxophone, he fails to come to performances or refuses to play while there, he has a tendency to be suicidal, and it is sometimes necessary to confine him to a psychiatric hospital because he is a danger to himself or other people.
So he turns to Bruno, whose art is working with words, for help. 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.
University of California Press, Johnny says he liked it but there are things missing. Bruno then receives a telegram from Baby Lennox saying that Johnny has died. And very often, like Johnny, these artists are tortured by their lack of success or severely misunderstood by other people. If anything, he was protecting Johnny. El primero, el dos, el tres, el veintiuno.
He helps Johnny, in part, in order to make sure that his biography is successful, and 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.
First, it emphasizes that Bruno uses racism as a way of dealing with his insecurity around Johnny. Bruno does not follow any commonly accepted standard of dramatic unity or narrative structure and insists perseguiddor using awkward verb structures. Perrseguidor is repeatedly described by Bruno as a sort of angel or a god.
Johnny further asserts that he resents Bruno’s imposing of religious connotations on his music, telling him, “If Persefuidor play and you see angels, that’s not my fault.
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.
What was wrong with the book? 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.
Considering his decision not to include Johnny’s psychological and physical abnormalities and illnesses in the biography, Bruno asks him again about the book and Johnny responds, “what you forgot to put in is me. Print this article Print all entries for this topic Cite this article. Throughout “The Pursuer,” Perseguudor makes frequent reference to both angels and devils in describing Johnny and his music.
Indeed, Bruno seems to understand more about Johnny’s real self than anyone else, which is perhaps why Johnny considers him such a great friend.
Julio Cortázar: El perseguidor by borja borja on Prezi
The first, as Sommer argues, is to imitate the improvisational genius of Charlie Parker’s bebop music. A prodigious jazz saxophonist and one of the great talents of his time, Johnny Carter is the main subject of the story. It is vital to recognize the distinction between the literal Spanish version of the verb usage in “The Pursuer” and the version presented by the translator. Cortaaar creative abilities of author and reader are combined and liberated from language’s barriers.
But Johnny “makes up” with her during a recording session, and they remain cortazad until the end of the story, perseguuidor they both leave Paris for New York. One of the prodigious musicians of the twentieth century, Parker is often considered to have almost single-handedly created the style of bebop. Then Johnny arrives, in “great shape” with a moderate amount of drugs in his system and optimistic about the concert that night.
The most important stylistic fortazar of “The Pursuer” is its unique use of past, present, and future verb tenses to narrate the story.
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. 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.
It creates a collective that gives equal opportunity for expression and communication among all members. He tells Bruno, “I don’t want your God, he’s never been mine.
In fact, peresguidor 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.
Enter the email address you signed up with and we’ll email you a reset link. Johnny thus mocks Bruno’s representation of his music as a religious phenomenon. And the Cuban socialist revolution in was extremely influential over the left-wing Hispanic elite.
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. The fact that Johnny loses his saxophone on the Metro, where he can fit fifteen minutes of life into a two minute journey, supports this claim and suggests that Johnny’s genius does not consist of the music itself, but what the music enables him to uncover about philosophy and art.
The capitalist individual moves according to the clock and due dates, as in the case of Bruno, the jazz critic writing for the newspaper.
El perseguidor | work by Cortázar |
Bruno then receives a call from Tica who says that Johnny’s youngest daughter, Bee, has died in Chicago. In addition to references to Johnny as an angel or devil, Bruno regards him as a kind of god. Also, Bruno is one of the people who is always taking care of Johnny and giving him what he needs.
The author in this case does not impose an image or societal model upon its readership.