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Religious Symbolism and the Ideological. Critique in “El perseguidor” by Julio Cort?zar. El sentido esencial de este cuento existe en funci?n de un sistema de. 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 . This study aims to juxtapose two treatments of „time‟ in Julio Cortázar‟s short story, El perseguidor, to better understand how the concept challenges the.

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He enjoys joking with Tica, and he takes away Johnny’s saxophone after a recording session so Johnny does not sell or destroy it. Stanley Kauffman, for example, called the story “outstandingly the worst [in End of the Game, and Other Stories ]: And Johnny hopes that Bruno, with words perseguido his command, may have some way to express what the mirror cannot. Instead of mainstream dance music played in ballrooms and large restaurants, bebop music became associated with smoky nightclubs and musicians that ignored their audiences.

Although Bruno has a tendency to dismiss Johnny’s discussions of time after he is finished talking with perseyuidor, these speculations are central to “The Pursuer. 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, but fiction inspired by real persons and events.

Perseguidpr then receives a call from Tica who says that Johnny’s youngest daughter, Bee, has died in Chicago.

However, by the end of the story, Johnny’s combination of intriguing and tormenting Bruno results in Bruno’s refusal to include Johnny’s complex personal life in the second edition of the biography. Bruno struggles to express the essence of what makes Johnny and his music so awe-inspiring.

Delaunay is from Paris and seems to be a manager or producer of some kind, since he persegyidor things in the studio but does not play an instrument. While the three of them drink rum and coffee, Johnny talks about time, one of his “manias,” or intense obsessions, using the subway and an elevator as examples of time not working in a sl way.


The first, as Sommer argues, is to imitate the improvisational genius of Charlie Parker’s bebop music.

The most pronounced of Johnny’s obsessions is time, which confounds him because he sees that it is not a linear or collective phenomenon. 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 cortasar by Bruno to make sense of Johnny’s music.

The Pursuer

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. But Johnny is also a unique genius whose understanding of life and psychological problems are inextricably connected to his philosophical and artistic insights.

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. Later in his life, he married the Canadian writer Carol Dunlap. Bruno has made his name with a book on Johnny Carter, a brilliant alto saxophonist closely modeled on Charlie “Bird” Parker.

Inthe author published his most famous novel, Rayuela Hopscotchwhich employs a revolutionary narrative structure by way of chapters that are not read in chronological order but can be skipped through in at least two coherent sequences. 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.

And such process takes place in a collective dialogue, while maintaining and ensuring the originality of each individual. Click here to sign up. An artist of great talent must, at some point, make a choice.

He is every reader who ever depended on a writer to express for him the one thing he has never known how to put into words, the only thing he has ever really wanted to say, the only thing that means anything.


One important new style that flowered in the perseguidpr and s coryazar was particularly Latin American in origin was “magical realism,” or a fusion of fantasy and myth with realistic fiction.

The Pursuer |

New Readings pefseguidor, Cambridge University Press,pp. 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.

While Johnny is described variously as an angel, devil, or god, Bruno also describes Johnny’s followers as angels of a sort. Bruno, on the other hand, is a jazz critic and has recently published Persegiudor biography.

Bruno enters, calculating that they have not seen each other in a month. Bruno’s narration, which eventually falls into a clear past tense during the last section, ccortazar to remind the reader that the critical and biographical eye is cottazar sole access to imagining Johnny. In this essay, Brent discusses religious symbolism in Cortazar’s “The Pursuer.

Regardless of Johnny’s insistence that Bruno remove the religious references from the biography, Bruno decides to leave the second and subsequent editions of the biography as is, without trying to revise it in accordance with Johnny’s criticisms of how he and his music have been represented. Toward the end of the story, Jullo 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. Throughout “The Pursuer,” Bruno makes frequent reference to both angels and devils in describing Johnny and his music.

Whereas in previous stories the characters followed the situation described by the narrator, in ‘El Perseguidor’ the characters create the story.