The title of the tale and the frequent musings on who is "hunting" whom in this narrative reveal Cortázar's fascination with the dance of pursuit, both ideological and personal. In a way, Bruno's entire life's work revolves around "chasing" Johnny and his extraordinary musical talent. He aids Johnny not just out of altruism but also to ensure the triumph of his biography. By steering Johnny away from drugs, Bruno hopes to preserve Johnny's legacy in music rather than get entangled in his labyrinthine psyche, which the biography strategically avoids. As Bruno candidly confesses, "we're a bunch of egotists; under the pretext of watching out for Johnny what we’re doing is protecting our idea of him." In his role as critic, he attempts to encapsulate Johnny, defining and limiting him to capture the essence of Johnny’s music for both himself and his readers.

Yet Bruno acknowledges that the theme of pursuit is far more intricate. He claims that Johnny "is the critic of us all," and that "Johnny pursues and is not pursued," illuminating how Johnny is not merely prey for critics like Bruno, friends like Art, or lovers such as Baby and Dédée. Johnny embarks on a quest for fresh realms of artistic possibility, chasing after new definitions and his companions alike. In his relentless journey to uncover what he seeks through his astonishing music, Johnny lays bare the vulnerabilities of those around him. Bruno is tormented by the truths Johnny uncovers about his own shortcomings, his dissatisfaction, and especially his "prestige," feeling a twinge of sympathy for Art, who faltered in Paris without Johnny's presence. While Bruno exhibits less compassion for the women in Johnny's circle, it seems they too are fervently pursued; Johnny has a tendency to forsake them once they are ensnared.

Cortázar crafts these intricate relationships and episodes of pursuit to reflect broader themes. A focal point is the delicate interplay between critic and artist; critics like Bruno strive to unveil and elucidate the essence of the artist so that the art itself can be truly understood. Often, critics succeed in pinpointing the artwork’s pivotal elements while some facets of the artist and their creations remain elusive. Meanwhile, artists like Johnny are immersed in challenging societal norms, fervently seeking to unlock new interpretations of the world. Frequently, like Johnny, they are tormented by their unfulfilled ambitions or misunderstood by society. Moreover, the friendships and romantic entanglements in Cortázar’s narrative underscore a theme of despair and the inability of lovers and friends to truly connect in their pursuit of one another.

Even though Bruno often brushes aside Johnny's musings about time once their conversations conclude, these contemplations lie at the heart of "The Pursuer." The tale persistently challenges the idea that time is merely a linear or collective entity. It frequently suggests that Johnny might not be as mad as he appears, but rather, profoundly correct in some, if not all, of his beliefs. Indeed, many of his fervent monologues delve into some of the most critical philosophical dilemmas of the post-World War II era, especially within metaphysics—the philosophy branch that explores the "nature of reality." For instance, Johnny's revelation about seeing himself in the mirror could resonate with Jacques Lacan's concept of the "mirror stage," where an infant first recognizes its reflection. Moreover, Johnny's insistence that handling or slicing a loaf of bread "alters" it may allude to the influential idea that an observer cannot interact with the natural world without changing it—an idea that supports the notion of the impossibility of making objective claims about our...