Lucia Jerez

Lucía Jerez, the only novel written by José Martí (Cuba, 1853-1895) ranks
among the first and most important novels of Hispanic American
Modernism. This work,overlooked or trivialized by critics over theyears, today is considered a revolutionary narrtive because in it
the writer experiments with techniques that pre-announce the XX Century
Vanguard writiers, and even contemporary post-modernism texts.
This is a novel built upon symbols, impresionist and expresionist prose,
full of visionary enunciations that depict the present and future of an
off-balance world; and the fragile and inconstant experiences of our daily life.

Martí, according to his own confession, wrote the novel originally under the
title of Amistad Funesta (Regrettable Friendship) in seven days for a
New York magazine. He was forced to follow the guidelines set
by the magazine's director: there had to be lots of love; a death; many
young women, no sinful passion; and nothing that parents and clergymen would
reject. And it had to be Hispanic American. The Cuban
confessed he disliked the narrative genre. But years afterwards he
changed his mind and thought about a modified version of his novel, with a
different title because he realized, after reading Harriet Beecher
Stowe's Uncle Tom's Cabin and Helen Hunt Jackson's Ramona, that novels
could be a powerful social and political vehicle.

In Lucía Jerez many critics have preferred to see a fundamentally aesthetic
creation,the fruit of the end of the XIX Century Modernist stylistic
innovations. But today (re)reading, "under the surface" of the text, as Martí preferred, one can discover a
contemporary narrative that explores the
disconnections and annomalies of modern life.

Inthe preliminary study to this text Prof. Ivan A. Schulman examines Jose Marti's stance with regard to
novelistic narratives, explores Lucia Jerez's structure and style, and adds
notes that contribute to a novel, in-depth comprehension of Marti's text.