Through an intermedial approach that focusses on the literary depiction of the musician, this article locates and explains three rewritings that Julio Cortázar’s “El perseguidor” undergone had during the last decades. Thus, three different works will be analyzed, by A. Castillo, F. Quiñones and A. Muñoz Molina, respectively, build up an interpretation of the short story on which they are all based. Given this transatlantic perspective, it will be argued that these versions establish a series of invariants by reinterpreting voice, time and space in the original narration. This perspective, then, joins the critical tradition and copious bibliography on the Argentinian writer from a point of view that has been seldom adopted: the interpretation that each of these versions imply. This seems to be an important issue in order to understand the meaning and scope of one of Cortázar’s milestones.
Keywords:
El perseguidor, Julio Cortázar, rewritings, Abelardo Castillo, Fernando Quiñones, Antonio Muñoz Molina
Guijarro Lasheras, R. (2018). Julio Cortázar’s Johnny Carter in the contemporary rewritings of Abelardo Castill o, Fernando Quiñones and Antonio Muñoz Molina. Revista Chilena De Literatura, (98), pp. 259–278. Retrieved from https://revistaliteratura.uchile.cl/index.php/RCL/article/view/51835
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