Ángel Domínguez – författare

“On the first day of Christmas, my true love gave to me, a partridge in a pear tree.” The melody is almost instantly recognizable to most people. The song was originally written and published as an English folk song, though its origins are thought to be in France. The melody was added in the early 1900s by Frederic Austin, which only increased the song’s popularity and helped to inspire countless adaptations, many in book form.Featured in this beautiful edition are vibrant vintage-styled illustrations by award-winning illustrator Ángel Domínguez. These illustrations only enhance the joy and merriment of this Christmas classic by merging that endearing, time-honored quality with a modern, high-quality product. Pass this charming tradition down to the next generation of readers, singers, and poets, and let parents share an invaluable experience with their children in the days preceding the arrival of good ol’ St. Nick.

A collection of epistolary poems that exorcises and explores the material violence and generational trauma of colonization and systemic racism stored within queer Latinx memory.In DESGRACIADO, Angel Dominguez navigates language and memory to illuminate the ongoing traumas of misremembered and missing histories and their lasting impacts. Dominguez unravels a critical and tender language of lived experience in letters addressed to their ancestral oppressor, Diego de Landa, (a Spanish friar who attempted to destroy the written Maya language in Mani Yucatán, on July 12th 1562), to articulate an old rage, dreaming of a futurity beyond the wreckage and ruin of the colonial imaginary. This collection doesn't seek to heal the incurable wound of colonization so much as attempt to re-articulate a language towards recuperation.

Poems of heart and fist that wrestle with form, craft, legacy, memory, and mortality.Don’t Tell My Mother If They Kill Me is a rebellious declaration of anti-fascist survival poetics. Part manifesto, part prayer/spell book, these dynamic, playful, provocative, and unapologetic poems pull no punches, attempting to offer reservoirs of energetic nourishment to arm oneself with joy, creativity, and connection. Providing a proletariat lens to contemporary poetry, these are working class poems—smoke break poems, poems to keep it pushing, poems to press onward against the woes and throes of empire and its many henchmen.