Luis Aníbal Sánchez (Quito, February 3, 1902 – Quito, February 14, 1922) was an Ecuadorian writer and modernist poet known for his pioneering use of prose poetry. From a young age, Sánchez engaged in Ecuador’s literary circles, joining forces with fellow poets Jorge Carrera Andrade and César Ariosto Orellana to co-found the César Borja Literary Society, a group dedicated to literary innovation and expression. His most notable work, Palabras con Flordelina (1920), showcased his intense, emotional prose poems and included an epilogue by Gonzalo Escudero Moscoso. Sánchez contributed to several Ecuadorian literary magazines, including La Idea, Crepúsculo, and Los Hermes, and wrote an introduction to Escudero’s Los poemas del arte. His promising career was cut short by his untimely death at the age of 20, yet his work continues to be recognized for its impact on Ecuadorian modernist literature.
Early Life and Education
Luis Aníbal Sánchez was born in 1902 in Quito, Ecuador, into a family with a strong literary heritage; his grandfather, Quintiliano Sánchez, and his uncle, Manuel María Sánchez, were both poets. While studying at Colegio Mejía in Quito, Sánchez formed close bonds with fellow students Jorge Carrera Andrade, Gonzalo Escudero Moscoso, Gonzalo Pozo, and Augusto Arias—young men who would later become significant figures in Ecuadorian literature, with Carrera Andrade eventually recognized as one of Latin America’s most important poets of the 20th century. In 1916, at just 14 years old, Sánchez co-founded the literary magazine El Crepúsculo with these peers, marking the beginning of his engagement with Ecuador’s modernist movement and his dedication to literary innovation.
Furthermore, during his life, he published essays and short stories in several Ecuadorian magazines, such as El Amor Único—a poignant story of class conflict, jealousy, and intense love set in rural Ecuador—in issue 46 of América and other pieces in La Idea, Crepúsculo, and Los Hermes. However, these works have never been collected in a single volume.
Founding of the César Borja Literary Society (1917)
While still a student in 1917, Sánchez co-founded the César Borja Literary Society with Carrera Andrade and Orellana, naming it in honor of the Ecuadorian poet César Borja. The society was dedicated to fostering literary innovation and became a crucial space for exploring new ideas within Ecuadorian literature. The César Borja Literary Society aimed to establish an Ecuadorian voice in literature, providing a platform for young writers to explore modernist themes and aesthetics.
La Idea: A Platform for Ecuadorian Modernism (1917-1919)
In addition to co-founding the César Borja Literary Society, Sánchez and Orellana directed the society’s magazine, La Idea, printed at Colegio Mejía. This publication, which ran from 1917 to 1919, included contributions from key writers of the time, such as Carrera Andrade and Augusto Arias. Through La Idea, Sánchez addressed modernist themes and the influence of international events, including World War I, which he viewed as a catalyst for a new, liberating artistic direction. His essay “Tendencia de la poesía moderna,” published in La Idea, expressed the modernists’ awareness of social and political changes worldwide and highlighted the Ecuadorian literary community’s aspirations to evolve and respond to such shifts.
Expansion into Vida Intelectual and Additional Editorial Roles (1918-1919)
From 1918 to 1919, Sánchez directed another influential magazine, Vida Intelectual. Through this publication, he continued to support Ecuadorian literature by fostering a national literary identity distinct from foreign influences. His work in Vida Intelectual enabled him to publish essays on Ecuadorian literature, modernism, and the importance of literary and cultural expression. These contributions positioned Sánchez as a leading voice in Ecuador’s intellectual and poetic circles.
In 1919, he further expanded his editorial involvement by directing the Literary Page of La Tribuna, a publication noted for capturing fleeting, introspective moments and exploring themes related to Ecuadorian life and identity. Sánchez was also an active contributor to various other publications, including Caricatura, El Día, Patria, Juventud Estudiosa, and Proteo. These roles allowed him to engage a wider audience and shape public perspectives on literature and the arts.
Founding Frivolidades and the Apeles Collection (1919)
In 1919, Sánchez joined Carrera Andrade, Carlos H. Endara, and Humberto Fierro in launching Frivolidades, a bi-weekly magazine committed to “new art.” Through Frivolidades, they introduced modernist ideals and artistic experimentation, contributing significantly to Ecuador’s evolving literary landscape. In conjunction with the magazine, Sánchez and his colleagues established the Apeles Collection, a monthly series aimed at supporting young Ecuadorian authors by publishing their works. This initiative provided an essential platform for emerging voices and encouraged literary innovation in Ecuador.
Participation in Los Hermes Group (1920)
By 1920, Sánchez became involved with the Los Hermes literary group in Guayaquil, a collective that included figures such as Aurora Estrada y Ayala, Gonzalo Escudero, Francisco Falquez Ampuero, Humberto Fierro, and Jorge Carrera Andrade. Los Hermes maintained an active publication, directed by José Joaquín Pino de Icaza, which provided a platform for the group’s members to publish their works and engage with Ecuador’s evolving modernist movement. Through his participation in Los Hermes, Sánchez contributed to discussions on modernist poetics and Ecuadorian literary identity, underscoring his dedication to literary growth within Ecuador. His connections with writers like Estrada and his involvement in Los Hermes’s publication efforts allowed him to engage more fully with the larger Ecuadorian literary scene, advocating for both literary and societal progress.
Published Work: Palabras con Flordelina (1920)
Sánchez’s most well-known work, Palabras con Flordelina, was published in 1920 in Quito. This collection of prose poems is renowned for its emotional and introspective depth, exploring themes of love, life, and mortality. The work’s lyrical and modernist qualities made it a significant contribution to Ecuadorian literature, establishing Sánchez as a leading figure in the nation’s modernist movement. The collection also included a poetic epilogue by Gonzalo Escudero, which further underscored the admiration and respect Sánchez held among his literary peers.
Prologues and Mentorship of Emerging Writers
Sánchez played a vital role in promoting the work of other young writers and supporting the genre of prose poetry in Ecuador. He wrote the prologue for Espigas de la Noche, a prose poetry collection by Ricardo Álvarez, thereby encouraging emerging Ecuadorian voices. His support for Álvarez and others reinforced the value of prose poetry within Ecuadorian literature and contributed to the genre’s development.
Sánchez also wrote an introduction for Sombra, fantasía lírico-dramática by Rafael Coronel G., showcasing his engagement with literary criticism. Additionally, he contributed an introductory “Pórtico” to Gonzalo Escudero’s Los poemas del arte, a gesture that highlights his active involvement in fostering Ecuadorian modernist literature and his role as a mentor to his contemporaries.
Inclusion in Los Hermes: Selección de Modernos Poetas y Prosistas Ecuatorianos (1923)
A testament to Luis Aníbal Sánchez’s influence within Ecuadorian modernism, his work was prominently featured in Los Hermes: Selección de Modernos Poetas y Prosistas Ecuatorianos, an anthology published in Quito by Imprenta de “Humanidad” in 1923. This collection united distinguished Ecuadorian poets and prose writers who played pivotal roles in shaping national literary renewal, including notable figures such as Falconí Villagómez, Guillermo Bustamante, and Víctor Hugo Escala. Organized into thematic groups—pioneers, parnassians, renovators, and others—Los Hermes provided readers with a curated perspective on the distinct contributions each group made to modernist thought. More than a compilation, the anthology honored Ecuador’s literary visionaries, celebrating modernist ideals and establishing a foundation for Ecuador’s literary identity that would inspire generations of poets and writers.
The book’s title, Los Hermes, also used by the literary group and its publication formed in 1920, draws from Hermes, the Greek god celebrated as the messenger between gods and mortals, as well as the patron of communication, language, and eloquence. Attributed to the Sociedad de Escritores Los Hermes (Los Hermes Society of Writers), the editors likely chose this title to emphasize its role as a “messenger” of modernist ideals, conveying new literary currents to a wider audience and heralding a transformative era in Ecuadorian literature. This choice aligns with the anthology’s goal of bridging traditional literary forms with fresh, innovative expressions, positioning it as a conduit for cultural and artistic renewal.
Unpublished Works and Intellectual Legacy
At the time of his untimely death in 1922, Sánchez left behind a significant body of unpublished work, including poetry, short stories, a novel, literary studies, and dramatic essays. His early passing at just 20 years old was considered a profound loss to Ecuadorian literature, as his work had already begun to shape the nation’s modernist movement. The range of his unpublished writings hints at the literary contributions he might have made had his life not been cut short.
Furthermore, during his life, he published essays and short stories in several Ecuadorian magazines, such as El amor único in issue 46 of América and other pieces in La Idea, Crepúsculo, and Los Hermes. However, these works have never been collected in a single volume.
Death and Enduring Influence
Luis Aníbal Sánchez passed away in 1922 in Quito. His influence within Ecuadorian literature, particularly through his pioneering of prose poetry and his active editorial roles, remains a lasting testament to his commitment to Ecuadorian cultural identity and literary innovation. Recognized posthumously by literary historian Isaac J. Barrera, Sánchez is remembered as an essential figure in Ecuadorian modernism. Barrera noted Sánchez’s dedication to both his family’s intellectual legacy and the cultural development of Ecuadorian literature. His early death marked the loss of a promising writer whose potential contributions to Ecuadorian literature were cut short, but his influence endures through his mentorship, editorial work, and the poignant beauty of Palabras con Flordelina.
Conclusion
Luis Aníbal Sánchez’s contributions to Ecuadorian literature extended well beyond his written work, encompassing his roles as an editor, critic, and mentor. Through key publications like La Idea, Frivolidades, and the Apeles Collection, as well as his involvement with the César Borja Literary Society and the Los Hermes group, Sánchez played a significant role in Ecuador’s modernist movement. Though he is less widely remembered today, his influence is preserved in the literary circles he helped establish, the writers he supported, and the prose poems he left behind, all of which continue to resonate in Ecuadorian literature and serve as a testament to his era’s rich literary heritage.
Poem
BROTHER DOG
In the enormous tragic silence of the night, Francis, the monk of Assisi, with sunken eyes of immense tenderness, caressed the white body, the snow-white body, of a poor dog that died in the war.
To that body which had no soul, but which felt much, loved much, suffered much, Francis has given a tear and infinite pity.
Francis has wept, while afar nations made war.
It is the apocalyptic hour. Humanity is condensed into one long shriek. Hate asserts its supremacy. The great red cataclysm sows earth with tears and blood; tears of the child and of the beloved, and ancient crystallized tears of the venerable mothers who weep in dark alcoves where the cat whines sybaritically without knowing why.
Before the white body of the poor dog slain by chance bullets, the divine Francis wept.
Translated by Muna Lee
Originally published in Poetry: A Magazine of Verse, Volume XXVI, Number III, June 1925, edited by Harriet Monroe, in the Spanish-American Number.
ORIGINAL SPANISH VERSION
Hermano can
En el gran silencio de la noche trágica, Francisco, el hermano de Asís, con sus ojos plenos, de inmensa ternura, ha acariciado el cadáver blanco, de blancura nívea, del pobre perro que murió en la guerra. Para el cuerpo que no tuvo alma y que, sin embargo, sintió mucho, amó mucho y sufrió mucho; Francisco ha tenido un responso, una lágrima y una piedad infinita...
Francisco ha llorado; mientras, en la distancia, la guerra impera.
Es la hora suprema. Parece que la humanidad se condensa en un grito; y la Tarda reclama su primacía. El inmenso cataclismo rojo preña la tierra de sangre y de lágrimas: lágrimas de niños, lágrimas de novias, y, sobre todo, viejas lágrimas cristalizadas y puras de las madres antañonas que lloran ingenuamente en las alcobas sin luz, donde el gato fosco gruñe sin saber por qué y sibaritamente...
Ante el cadáver blanco del pobre perro que murió en la guerra, el divino Francisco ha llorado...
From Palabras con Flordelina (1920).
Selected Works
- Palabras con Flordelina (1920), a collection of prose poems.
- Los hermes (1923) by Sociedad de Escritores Los Hermes
References
- FLACSO Andes Repository. Luis Aníbal Sánchez: trayectoria y aportes a la literatura ecuatoriana. Retrieved on October 28, 2024. Click to view.
- Rodolfo Pérez Pimentel. Sánchez, Luis Aníbal (2). Retrieved on October 28, 2024. Click to view.
- Rodolfo Pérez Pimentel. Sánchez, Luis Aníbal (3). Retrieved on October 28, 2024. Click to view.
- Universidad Andina Simón Bolívar Repository. El círculo literario de Luis Aníbal Sánchez. Retrieved on October 28, 2024. Click to view.
- Casa de la Cultura Ecuatoriana Repository. Selección de Modernos Poetas y Prosistas Ecuatorianos. Retrieved on October 28, 2024. Click to view.
- Efecto Alquimia. Con la embriaguez de las estrellas, by Ximena Flores Venegas. Retrieved on October 28, 2024. Click to view.
- Corporación Grupo América. Revista América – Issue 046. Retrieved on October 28, 2024. Click to view.
- El Universo. Sobre Aurora Estrada. Retrieved on October 28, 2024. Click to view.
- Rodolfo Pérez Pimentel. Arias Robalino, Augusto. Retrieved on October 28, 2024. Click to view.
- Rodolfo Pérez Pimentel. Escudero Moscoso, Gonzalo. Retrieved on October 28, 2024. Click to view.
- Colegio Fiscal Dr. Jorge Carrera Andrade. Dr. Jorge Carrera Andrade. Retrieved on October 28, 2024. Click to view.
- Universidad de Salamanca Repository (GREDOS). Poesía y crítica literaria, by José Raúl Guzmán Bárcenes. Retrieved on October 28, 2024. Click to view.
- Universidad Andina Simón Bolívar Repository. Kipus: Revista Andina de Letras, Issue 15. Retrieved on October 28, 2024. Click to view.