Dorothy Chan's signature form is the Triple Sonnet. In this two-part course, they first guided students on how to make and break the sonnet form, using some of their favorite contemporary examples. After all, the sonnet is the "amuse-bouche" of poetry — it's the bite-sized form that keeps going and going into infinity, making the reader crave more. Works on food, sex, and pleasure were explored. Chan guided attendees on generative techniques and practices for sonnet writing. Attendees were free to bring a current sonnet draft to continuously notetake and revise during this session.

After this first class, students were instructed to complete a sonnet and email it to Chan before the next session on August 23rd. At the end of this course, attendees were given substantial revision notes on their sonnets, as well as techniques for future sonnets.

Working from the writing of Kate Briggs in This Little Art and the essays of Lydia Davis, and looking at radical translation work like Flowers of Bad by David Cameron and “The Enormous Radio” (an “English to English” translation of Cheever’s short story by Leah Sophia Dworkin), this workshop broke down the myth that translators must necessarily be fluent readers in two languages.

After looking at arguments about the benefits of translation as an activity in a wider writing practice, participants moved on to how to apply certain theories of translation to our work, and ended with some possible exercises.

What might Barbie & Ali Wong have to teach us about navigating microaggressions and flourishing in worlds full of obstacles? How can we tap into the power of pop icons like Sinead O’Connor & Prince who were taken from us too soon but continue to empower us? How might titles and lyrics from albums such as Beyonce’s Renaissance & The Cure’s Disintegration inspire poems about reemergence and a revolution of self in society? And ultimately, how can pop culture narratives & icons serve as inspiration to harness our complex realities, cull our most authentic selves, & reimagine our futures?

In this two-hour, generative workshop, Joan Kwon Glass lead us through a unique curation of writing prompts inspired by song lyrics, movie dialogue, memes, costumes & interviews. Participants found unexpected ways to reclaim pop culture & generate new worked together in a fun and supportive environment. 

This offering from Honey Literary gave writers the rare opportunity to refine their skills as speakers and performers.

While many creatives across the genres refine their craft on the page, little attention is paid to vocality, stage presence, and how to deliver a reading that will leave the audience craving more. This workshop is also a safe space for those with disabilities. Whether you are a subtle sonnet queen or a seasoned slam performer, HL co-founder Dr. Rita Mookerjee will guide you in maximizing your potential on stage so you can enter your next reading with confidence.

The Triple Sonnet is Dorothy Chan’s “Triple Axel” of Poetry

Dorothy Chan's signature form is the Triple Sonnet. In this two-part course, they first guided students on how to make and break the sonnet form, using some of their favorite contemporary examples. After all, the sonnet is their “axel of endless volta,” and they look forward to exploring how to build that eternal turn within the bite-sized form and its many variations. Chan guided attendees on generative techniques and practices for sonnet writing. Attendees were free to bring a current sonnet or sonnet sequence draft to continuously note take and revise during this session.

After this first class, students were instructed to complete a sonnet or sonnet sequence and email it to Chan before the next session on April 4th. At the end of this course, attendees were given substantial revision notes on their sonnets and sonnet sequences, as well as techniques for future sonnets.

Lipstick, Lipgloss, Chapbook! is Dorothy Chan’s poetry version of Lights, Camera, Action!

Lines of poetry are like camera angles. As poets, we’re always anticipating that perfect volta on and off the page. Zooming in and out of specific images also makes for memorable poems, as we lure in the audience. The great Alberto Ríos once said: “The best line of the poem is the line that I am reading; and that does not exclude the title.” This chapbook workshop followed Ríos idea in both micro (the individual poem) and macro (the whole chapbook) ways.

If the best line of the poem is the line that you are reading, then the best poem of the chapbook is the poem that you are reading. Phew. That’s a lot of pressure! In this chapbook workshop, EIC Dorothy Chan not only demystified the whole chapbook creation process, but also taught techniques on poetic form and surprise.

Dorothy Chan's signature form is the Triple Sonnet. In this two-part course, they will first guide students on how to make and break the sonnet form, using some of their favorite contemporary examples. After all, the sonnet is their “axel of endless volta,” and they look forward to exploring how to build that eternal turn within the bite-sized form and its many variations. Chan will guide attendees on generative techniques and practices for sonnet writing. Attendees are free to bring a current sonnet or sonnet sequence draft to continuously note take and revise during this session.

After this first class, students will be instructed to complete a sonnet or sonnet sequence and email it to Chan before the next session on August 21st. At the end of this course, attendees will be given substantial revision notes on their sonnets and sonnet sequences, as well as techniques for future sonnets.