Lucía Sánchez Saornil

Lucía Sánchez Saornil (13 December 1895 – 2 June 1970), was a Spanish poet, militant anarchist and feminist. She is best known as one of the founders (alongside Mercedes Comaposada and Amparo Poch y Gascón) of Mujeres Libres and served in the Confederación Nacional del Trabajo (CNT) and Solidaridad Internacional Antifascista (SIA).

Lucía Sánchez Saornil
Portrait of Lucía Sánchez Saornil
Lucía Sánchez Saornil in 1939
Born13 December 1895
Madrid, Spain
Died2 June 1970(1970-06-02) (aged 74)
Valencia, Spain
OccupationJournalist, trade unionist, writer and LGBT activist

Biography

Today she is considered to be an anarcho-feminist. However, she did not consider herself a feminist. The concept of feminism was associated with the upper-class. Therefore, working-class women who aligned themselves with the class struggle did not embrace feminism. However, many of the ideals they did embrace would be considered feminist by today's standards. Many of her peers shared this view.[1]

Lucía Sánchez Saornil and Emma Goldman

Sánchez Saornil was involved with Emma Goldman, a well-known anarchist. Emma Goldman corresponded with Sánchez Saornil and assisted anarchist causes in the Mujeres Libres organization. Goldman's agenda aligned in many aspects with the agenda of Mujeres Libres.[2]

Sánchez Saornil met América Barroso, the woman she would spend the rest of her life with, right as Mujeres Libres was gaining significant traction.[3] Although they faced backlash for their lesbian relationship from the state and from their communities, as well as risked putting their lives in danger, Sánchez Saornil and Barroso stuck together as they fled to Paris, returned to Madrid, and fled again to Valencia, wherein they would continue the rest of their relationship and their lives in secret.[4]

With the defeat of the Second Republic, Sánchez Saornil and her partner América Barrosa were forced to flee to Paris, where Sánchez Saornil continued her involvement in the SIA. With the fall of France to Nazi forces, it was soon necessary for them to move again and they returned to Madrid in 1941 or 1942. Her exile and return are still somewhat mysterious.

Writing

Sánchez Saornil wrote under the male pen name Luciano de San Saor.[5] Her poetry revolved around themes of lesbian desire during a time (i.e., Francoist Spain) in which portrayals of queerness were heavily policed.[6] She also wrote poems about industrialism, religion, marriage, anarchism, and economic revolution. Some of these poems include "Sensual Twilight,"[7] "Suburban Landscape," "Sunday," "Landscape in Memory," "To Sarah, Dead, who Desperately Cried Out to God," and "Romance of Durruti."[8] She also wrote essays like "The Question of Feminism" and "The Women Question in our Media," followed by "A Summary on the Woman Question: For Compañero Vázquez," wherein she first developed her rationale for co-creating Mujeres Libres, both the journal and the organization.[9] One of her more scathing essays, "The Marriage Ceremony or Spiritual Cowardice," delineates her critiques of marriage as a contract of sale.[10]

See also

References

  1. Linhard 2005, pp. 23–57.
  2. Kaymakçioğlu, Göksu (2010). "Strong We Make Each Other": Emma Goldman, The American Aide to Mujeres Libres during the Spanish Civil War 1936-1939 (PDF) (MA). Ankara: Bilkent University.
  3. Green, Kat (2019-08-15). "THE WOMAN WHO WATCHED SPAIN FALL (THEY AREN'T FAMOUS #1)". Medium. Retrieved 2022-10-24.
  4. Green, Kat (2019-08-15). "THE WOMAN WHO WATCHED SPAIN FALL (THEY AREN'T FAMOUS #1)". Medium. Retrieved 2022-10-24.
  5. Kowal 2019, p. 271.
  6. "Lucia Sanchez Saornil (1895-1970)". Illuminated Letters. 2013-09-08. Retrieved 2022-10-24.
  7. Durán, Félix Sánchez (2020-11-01). "Poesía para la nueva juventud militante: CREPÚSCULO SENSUAL". Poesía para la nueva juventud militante. Retrieved 2022-10-24.
  8. Ávila, Fausto Marcelo Ávila (2016-12-16). "Fausto Marcelo Ávila: POEMAS DE LUCIA SÁNCHEZ SAORNIL". Fausto Marcelo Ávila. Retrieved 2022-10-24.
  9. Ackelsberg 2005, p. 126.
  10. Ackelsberg 2005, pp. 168–169.

Bibliography

Further reading

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