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.
|Country:||Sao Tome and Principe|
|Published (Last):||22 October 2018|
|PDF File Size:||10.23 Mb|
|ePub File Size:||14.75 Mb|
|Price:||Free* [*Free Regsitration Required]|
Mirrors give faithful reflections. Bruno finds out that he was at Tica’s place and likely died of a severe drug overdose.
Johnny cannot grasp the conventional conception of time that guides cortzzar reality: Bruno goes to Johnny’s hotel room and listens to Johnny explode about his friends keeping the recording of Amorous.
The author may be suggesting that such racist judgments and simplifications are delusional. At the same time, Johnny struggles with his own limits, always catching glimpses of a revelation he can never fully fathom, playing pefseguidor that carries him far beyond the boundaries of conventional forms but into a land that he can only stutter about brokenly upon his return.
Brent holds a Ph. 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 ds died. Davis was, together with Parker, one of the most influential jazz musicians of the bebop era. Johnny’s suspicions and strife may be lost on his fictional critic, but, in the end, his struggle infects the actual writer who created both musician and critic.
Through jazz Johnny is able to create a reality where he is found in dialogue with other musicians. Similarly, artists like Johnny are constantly engaged cortaazar pursuing some of the basic values and assumptions of perseguixor society, trying desperately to open the door to a new understanding of the world. While Johnny is described variously as an angel, devil, or god, Bruno also describes Johnny’s followers as angels of a sort.
Although Johnny often disappoints persgeuidor friends and family, he is also a person who is almost universally revered and admired.
An artist of great talent must, at some point, make a choice. What was wrong with the book? Alazraki, Jaime, and Ivar Ivask, eds. But Johnny “makes up” with her during a recording session, and they remain close until the end of the dortazar, when they both leave Paris for New York.
Bruno’s condescension towards Johnny, which is clearest in his perseguidkr of referring to Johnny as a chimpanzee, suggests two important ideas. Why’ve you made me accept [your God] in your book?
Even Johnny Carter’s initials—J. Although he never learned music formally, he practiced the alto saxophone constantly, emulated the tenor saxophonist Lester Young, and played in various groups in Kansas CityChicago, and New York.
Johnny Carter’s character is in many ways meant to refer to the alto saxophonist Charlie Parker. 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 due to his personal problems.
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. Tica, Johnny, and Baby Lennox all move back to New York soon after this, and Bruno decides not to confuse his audience by making any changes to the second edition of Johnny’s biography.
Remember me on this computer. Bruno’s narrative is an attempt to make up for the element that was “missing” from his published biography of Johnny. 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. 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.
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. Perseguicor his writing the rhythm transmits a tension within the text that places the reader outside perseguuidor his daily environment. In this essay, Brent discusses religious symbolism in Cortazar’s “The Pursuer.
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: Throughout his youth he developed a passion for classic literature, but he was forced ds of his family’s financial situation to drop out of the University of Buenos Aires after one year and become a teacher.
Musicians such as Louis Persdguidor 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. Modern Language Association http: 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 perseguiodr fiction, but fiction inspired by real persons and events.