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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As Johnny tells Bruno, “what you forgot to put in is me. But Johnny “makes up” with her during a recording session, and they remain close until the end of the story, when they both leave Paris for New York.

Print this article Print all entries for this topic Cite this article. Her death is quite a blow to Johnny, who later says about his music: Or one can strike out into uncharted waters, unknown lands.

Bruno admits that he is haunted by what Johnny reveals about his own failures and unhappiness and especially his “prestige,” and he feels sorry for Art because Art could not succeed in Paris without Johnny.

Like Tica, Nica separated from her rich husband because of “dope and other, similar, reasons,” and moved to New York and then Paris in pursuit of the bebop scene. So he turns to Bruno, whose art is working with words, for help. Skip to main content. Bruno’s condescension towards Johnny, which is clearest in his habit of referring to Johnny as a chimpanzee, suggests two important ideas.

Nevertheless, Bruno seems to allow the reader much closer to Johnny’s real self and the essence of his musical talent than, presumably, his biography does, because Bruno exposes Johnny’s desperate drug abuse problems and philosophical obsessions Johnny’s “me” in addition to his music.

Why’ve you made me accept [your God] in your book? Bruno finds out that he was at Tica’s place and likely died of a severe drug overdose.

The Pursuer

One important new style that flowered in the s and s and was particularly Latin American in origin was “magical realism,” perseguivor a fusion of fantasy and myth with realistic fiction. Y no es culpa tuya no haber podido escribir lo que yo tampoco soy capaz de tocar. 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 rational cprtazar.


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

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.

One of the prodigious musicians of the twentieth century, Parker is often considered to have almost single-handedly created the style of bebop.

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 corrtazar music and not for his incredibly complex psychology, which Bruno’s biography completely omits.

After Johnny’s death, he slaps together a quick obituary in time for the second printing of his false biography, further cementing Johnny in the jazz pantheon in which Bruno insists he belongs, and further obscuring the real man and his tortuous, failed search. Johnny is fascinated by the glimpse of transcendence perseguiodr gets through his music, and profoundly frustrated by his inability to put it into words.

In this essay, Brent discusses religious symbolism in Cortazar’s “The Pursuer. He tells Bruno, “I don’t want your Persetuidor, he’s never been mine. What was wrong with the book?

She became quite famous, or infamous, after Parker died in her New York luxury apartment from complications due to drug and alcohol abuse. Trudell is a freelance writer with a bachelor’s degree in English literature.

The Shadow and the Act: Remember me on this computer. Like Johnny, Art is from the United Statesand he has had “conversations with his agent about going back to New York as soon as possible. Bruno does not follow any commonly accepted standard of dramatic unity or narrative structure and insists on using awkward verb structures. And such process takes place in a collective dialogue, while maintaining and ensuring the originality of each individual.

The Pursuer |

But this unique style is more than simply an emulation of cortazaf it is a method of expressing a variety of philosophical and intellectual concepts for which bebop music serves as an excellent metaphor. In one part of the story, Bruno refers to the group of musicians and their friends who congregate around Johnny as “sick angles, irritating in their irresponsibility, but ultimately valuable to the community.


Other ways in which Bruno’s narrative equates Johnny Carter with Jesus Christ include such details as Johnny’s showing Bruno “what a pretty scar I got between my ribs. For example, one of his chief interests is in the relationship between the juoio and the artist; critics like Bruno must pursue and clarify the truth or the nature of the artist so that the art itself can be comprehended.

These goals include the essence of the prodigious artist, the artistic object itself, the truth or reality through the “door” that Johnny continually mentions, the “prestige” Bruno covets, or simply the story itself. Two or three days later, Bruno visits Tica, or “the marquesa,” a rich friend and sometime lover of Johnny, to find out if she has been giving him heroin, or “junk.

Bruno’s entire career is, in a sense, based on “pursuing” Johnny and Johnny’s musical talent.

Johnny thus mocks Bruno’s representation of his music as a religious phenomenon. In fact, the 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.

Next comes a brief section of Bruno’s thoughts during the intermission of that night’s concert, about Johnny and the music he uses “to explore himself, to bite into the reality that escapes every day. This description, particularly the phrase “infinite construction,” is an excellent paraphrase of the new aesthetic ideas of the s.

He continued to read foreign literature and published a book of sonnets entitled Presencia Presence inunder the pen name Julio Denis.