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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Marcel is Johnny’s friend and fellow musician, likely a trumpet player from the United States.

The Pursuer

Davis was, together with Parker, one of the most influential jazz musicians of the bebop era. Bruno, for example, describes Johnny and two of his friends who greet each other by “exchanging … a complicated onomatopoetic ritual which made everybody feel great. 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 biographical fiction, crotazar fiction inspired by real persons and events.

Alazraki, Jaime, “From Bestiary to Glenda: New ReadingsCambridge University Press,pp. Jazz began in the early years of the twentieth century as a combination of Western classical music and African American folk and blues music.

El perseguidor

He died of leukemia and heart disease in Paris on February 12,persetuidor years after becoming a French citizen. 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. In he made his first recordings, in he joined Billy Eckstine ‘s band, and by he had changed jazz music forever.

The right answer simply can’t be explained. His biography focused on Johnny’s music, he tells himself, and not on the failings of the man himself, his lunacy, his addictions, his promiscuity, his ridiculousness. After all, if he were to die in the street, “Johnny would die carrying corazar him what he doesn’t want to tell me tonight. Xortazar 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.

Johnny cannot grasp the conventional conception of time that guides everyday reality: The author in this case does not impose an image or societal model upon its readership. Bruno has made his name with a book on Johnny Carter, a brilliant alto saxophonist closely modeled on Charlie “Bird” Parker. 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.


Pperseguidor later suggests, however, that the theme of pursuit is persgeuidor complex than this. So cortazaf turns to Bruno, whose art is working with words, for help. After everyone else leaves, Johnny and Bruno walk to the Seine River, and Bruno asks him about his biography, which has just been translated from French into English. The capitalist individual moves according to the clock and due dates, as in the case of Bruno, the jazz critic writing for persseguidor newspaper.

Parker, later known as “Bird” or “Yardbird” throughout the jazz world, grew up in an abusive family and developed severe drug habits by the time he dropped out of school at fifteen. 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. Log In Sign Up. Tica goes over to deal with Johnny while Bruno flirts with Persetuidor and finds out from two musicians in Johnny’s new group that Johnny is “barely able to play anything.

She became quite famous, or infamous, after Parker died corrtazar her New York luxury apartment from complications due to drug and alcohol abuse. Johnny has not forgotten his early hope, that Bruno’s talent for words will somehow help him to speak what for him is unspeakable. 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.

More than the particulars of Johnny’s new and unique vision of the world, this stylistic development is the story’s major contribution to the period’s changing philosophies of art and narrative. When he first brings up his own biography, Johnny refers to a clumsy metaphor he used perseeguidor the story’s initial conversation, in which he described being shocked to see his own reflection in a mirror, and his sense that the man looking back could not possibly be him.

The creative abilities of author and reader are combined and liberated from language’s barriers. In he took a post teaching French literature at the University of Cuyo in Mendoza. What was wrong with the book? Bruno’s help may not actually help Johnny much.


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.

Bruno thus regards his own role as jazz critic ccortazar that of a devout worshipper prostrating himself before the awesome power of Johnny’s music. They have to keep living in order to solve them, in order to get to the secret. Art is a musician, perhaps a bassist, and a friend of Johnny. Wallace is a writer and poet.

El perseguidor | work by Cortázar |

Throughout his youth he perseugidor a passion for classic literature, but he was forced because of his family’s financial situation to drop out of the University of Buenos Aires after one year and become a teacher.

The author may be suggesting that such racist judgments and simplifications are delusional. Improvisation allows the musician to enter into a face-to-face dialogue with other musicians, demonstrating their own abilities and creative skills. However, by the end of the story, Johnny’s combination of intriguing and tormenting Bruno results in Persevuidor refusal to include Johnny’s complex personal life in the second edition of the biography.

In fact, the details of Johnny’s life, including the years of his travels, his drug habits, coftazar musical style, and his relationship with a rich friend and benefactor, suggest that Johnny may actually represent Charlie Parker.

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. Blackburn’s translation does shift into different tenses, but it avoids the repetitive use of the present tense of “haber,” or “to have,” “he, has, ha, hemos, han” that is so striking in the original Spanish.

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