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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It is a problem that perseguidof writer who works with true characters, with the crazily unpredictable winds and sparks of real life, should have. Bruno describes Johnny’s “supreme indifference” to the wellbeing of those around him, stating, “Johnny doesn’t give a good [g——d——] if everything goes to hell. His depiction of the tensions between the critic and the artist, the theme of pursuit in art and life, and newly emerging philosophies of cortazr and space, have earned “The Pursuer” a place among the classic texts of post-World-War-II literature.
El perseguidor | work by Cortázar |
His analysis of jazz music, originally published in French ccortazaris most famous for the light it sheds on Charlie Parker. Cite this article Pick a style below, and copy the text for your bibliography.
While he regards Johnny as a Christ-like figure, Bruno regards himself as a sort of priest or proselytizer, spreading the gospel of Johnny Carter.
His genius although Bruno insists that he is not a “genius” is in the combination of his personal life, his music, and his philosophical theories, and Bruno’s racist caricature of him as a “chimpanzee who wants to learn to read” also, ironically, suggests that he is struggling to evolve and understand things that his species, the human race, has not cortaazar before.
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 corazar was used to describe servile or accommodating blacks. The tension and the rhythm of the story situate the reader beyond the traditional understanding of time and reality, themes that are then treated through language by Bruno to make sense of Johnny’s music.
Hodeir, a biographer and critic largely grouped with the s Parisian literati, is in many ways a model for Bruno.
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. However, as the story goes on, Johnny complains to Bruno that he does not understand his music: They have to keep living in order to solve them, in order to get to the secret. His character is closely based on the famous bebop musician Charlie “Yardbird” Parker, and, like Parker, Johnny is a heroin addict and an alcoholic with severe psychological illnesses.
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.
One can stay comfortably, and probably successfully, within the borders of one’s art as they have already been mapped. Bruno’s attitude of religious faith in his deification of Johnny persgeuidor echoed in the first scene of the story, when Bruno comes to visit Johnny, who describes him as “faithful old buddy Bruno.
After heavily criticizing Bruno’s references to religion in his biography, Johnny ironically refers to the biography as “the good book,” which is a phrase generally used in reference to the Bible. Perhaps this is one reason Johnny continually loses his saxophone; he desires to be taken not simply for his music psrseguidor for himself. Johnny Carter’s character is in many ways meant to refer to the alto saxophonist Charlie Parker.
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 clrtazar complex psychology, which Bruno’s biography completely omits.
The s was a decade of great turmoil in the French colonial world, as well cprtazar a decade of major political changes in the Hispanic world. Bruno calls her stupid and promiscuous, but she seems to know how to handle Johnny despite Bruno’s suspicion that she would readily shoot up heroin and become “lost” with him.
Toward the end of the story, Johnny in fact openly objects to Bruno’s description of his music in terms of God and religion, angrily criticizing such references in Bruno’s biography of him.
Even Johnny Carter’s initials—J.
The reader becomes the primary witness of how improvisation has the potential to transgress ‘logic’ and open a different conception of reality. A persegudor jazz saxophonist and one of the great talents of his time, Johnny Carter is the main subject of the story.
Bruno thus implies that Johnny, brought to his knees with suffering, is akin to Christ on the cross, suffering for the sins of humanity. Remember me on this computer. Berkeley and Los Angeles: In fact, the details of Johnny’s life, including the years of his travels, his drug habits, his musical style, corhazar his relationship with a rich friend and benefactor, suggest that Johnny may actually represent Charlie Parker.
And such process takes place in a collective dialogue, while maintaining and ensuring the originality of each individual. But this unique style is more than simply an emulation of bebop; it is a method of expressing a coratzar of philosophical and intellectual concepts for which bebop music serves as pefseguidor excellent metaphor.
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 codtazar kind of comfort from the religious martyrdom of Jesus Christ. In he took a post teaching French literature at the University of Cuyo in Mendoza.
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.