poetry & prose
For Dawna, writing is as instinctive as breathing. She began contributing to digital and print literary journals at 17, finding comfort in translating complex emotions into quiet prose. She also writes poetry to explore - and perhaps even transcend - the boundaries of language, hoping to forge her own path through the wasteland of literature, even if it leads into the unknown.
對馮曉彤而言，寫作像呼吸一樣自然不過。她自小享受寫日記、書信和故事，17歲開始在文學雜誌發表散文，並在梳理及轉化複雜感情的過程中，找到慰藉。她也寫詩，藉此探索甚至跨越語言的邊界，希望在文字的荒原上，找出一條屬於自己的路，哪怕它並不完整。
|刊於《字花》118期| sum 心
就像那種望著空白橫線的窘迫，填甚麼上去好呢？然後呆著呆著，就待了好幾小時。我自小已失眠，總是在床上翻來覆去。阿媽唱歌唱到沒氣，輕輕拍背的手也停頓了，就叫我「數綿羊」吧。她教我，一隻綿羊，兩隻綿羊，三隻綿羊...... 這樣疊加上去。於是，我又再將它簡化成一，二，三，四，五......
|刊於《別字》71期| 婆婆
還有一首兒歌婆婆常唱，但我不怎麼喜歡的，是噯姑乖，噯姑乖，噯大個姑乖嫁豪街…… 我聽不懂，以為是愛古怪，愛古怪，愛大個古怪嫁後街…… 古怪是說我嗎？後街又有甚麼特別？外面的世界是怎樣？何年何月，多少迷團都像霧，無法知道。
|刊於《別字》51期| 我的小狗
我不似其他主人：我不會向小狗說話的，我知道他沒法理解語言，最多只能明白單字。但是我怎樣用單字表達自己呢？「跳跳，食，毛巾，波波，毛巾毛巾，畀畀，手。」生命，聽起來就像一堆亂碼，只是一串沒有意義、隨機拼湊在一起的詞組。
|刊於《聲韻詩刊》86期| 最後一天
別了
畫地為牢的椅子
路旁的螞蟻
畫成一條斷斷續續的行列
只懂交頭接耳，而不敢吃掉那顆
果實，我今日就要戳破
|刊於《虛詞》| 有人含屈而終
錄影機請馬上停止，拔除電池粒，放進褲袋
放進去，別握在手
若小孩太早接觸世界的冰冷，會生出長毛
蓋過鼻子和下巴，失去了臉
沒有人再看見
|刊於《聲韻詩刊》71期|
love in translation
was cited by Hong Kong poet Lester Lau as an exemplary text for “Rewriting Sexual Story: Little Doo Doo Hong Kong Poetry Workshop”
此詩獲香港詩人劉梓煬選為「小讀讀香港詩寫作坊：重寫性別故事」討論作品之一
was featured by Hong Kong Poetry Writing Month 2023 to prompt poets to write a poem that includes transliterations between two of Hong Kong’s languages
獲香港詩歌創作月選擇為示範作品，鼓勵詩人寫一首運用香港語言的譯音詩
In 2024, she was invited by theatre director Ray Tang to to adapt Belgian playwright Maurice Maeterlinck’s The Blind. She examined the quiet cruelty of human nature - the ways we choose blindness over the discomfort of witnessing another's pain.
During the performance, her most intimate diary entries were given voice by the accomplished actor Sung Boon-ho, while her emotional poetry wept across the screens, moving in haunting harmony with dancers’ visceral choreography.
2024年，她獲劇場導演鄧立桁邀請，改編比利時劇作家梅特林克的經典劇作《群盲》。她藉此深入人性的殘酷部分——面對他人痛苦時，我們往往選擇麻木自己。
演出期間，資深演員宋本浩讀出她私密的日記，為文字賦予了生命；她飽含情感的詩句亦配合竺諺民的錄像及攝影，緩緩在銀幕上流淌。