Friends of the Frost Place

### Context Profile for Friends of the Frost Place

1. **Organization Mission & Cause**:
   - **Mission**: Friends of the Frost Place is dedicated to promoting the appreciation of poetry and the natural world through workshops, readings, and educational programs. They aim to inspire creativity and foster a deeper connection with nature through the art of poetry.
   - **Cause**: The organization emphasizes the importance of nature in poetry and seeks to create a community of writers who explore and express their experiences with the natural environment.

2. **Type of Activities**:
   - **Workshops**: They host various poetry workshops, such as "Writing Nature in Place," which encourages participants to draw inspiration from their surroundings.
   - **Readings**: The organization organizes poetry readings that allow poets to share their work and connect with audiences.
   - **Educational Programs**: They provide educational resources and programs aimed at enhancing the understanding and appreciation of poetry, particularly in relation to nature.

3. **Tone of Voice**:
   - The tone of the website is **friendly, inspiring, and welcoming**. The language is accessible and encourages participation, making it appealing to both novice and experienced poets. The content often evokes a sense of connection to nature and creativity.

4. **Emoji Usage**:
   - The organization does not prominently use emojis in their communications. The tone remains professional and focused on the literary aspect of their mission without relying on informal emoji expressions.

5. **Key Facts**:
   - **Founding Info**: The specific founding date is not mentioned on the website.
   - **Scale**: Engages with a community of poets and nature enthusiasts, offering multiple workshops and events throughout the year.
   - **Impact Metrics**: While specific metrics are not provided, the organization highlights participant engagement and community involvement through their events.
   - **Volunteer Info**: The website does not specify volunteer opportunities, but it encourages community involvement and support for their programs.

6. **Writing Guidelines**:
   - **Style**: Use a conversational and inviting tone that reflects a passion for poetry and nature. 
   - **Structure**: Content should be well-organized, with clear headings and engaging descriptions of events and workshops.
   - **Audience Engagement**: Encourage readers to participate in workshops and events, emphasizing the community aspect and the joy of creative expression.
   - **Imagery**: Use vivid and descriptive language that evokes the beauty of nature, aligning with the organization’s mission to connect poetry with the natural world.

This context profile provides a comprehensive understanding of Friends of the Frost Place, enabling AI assistants to generate personalized and relevant content that aligns with the organization’s mission and values.

Tuition

A red wheelbarrow, a steel coupler, and &ldquo;an oh! of pain&rdquo;: What, exactly, does depend upon &ldquo;things&rdquo; in poems? In the decades since William Carlos Williams wrote the now-famous phrase &ldquo;no ideas but in things,&rdquo; it has been axiomatic that poems should ground ideas and feelings in particulars&ndash;&ndash;things we can see and touch in the physical world. Most of us take for granted that part of a poet&rsquo;s work is to find the sensory details that evoke an object (or person or place) with exactness. Perhaps, too, it goes without saying that there is more to a complete poetic statement than vivid physical representation. In this workshop, we&rsquo;ll look closely at poems that enter into story and deep feeling through a particular object or group of objects, often with a dive into greater emotional intensity. We&rsquo;ll explore this process in work by Elizabeth Bishop, Hart Crane, Lucille Clifton, Eduardo Corral, Diana Delgado, Diane Seuss, and Jean Valentine. Where relevant to our exploration, we&rsquo;ll extend the notion of &ldquo;thingness&rdquo; to include memorable sensory images beyond those that are purely visual.The &ldquo;things&rdquo; that matter in these poems are particular to each poet and inhabit the imagination under pressure, resonating from a depth. Workshop participants will be asked to consider an object or objects that compel their attention and will take away suggestions for a warm-up exercise and longer poem prompt sparked by the examples we&rsquo;ve discussed. <img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1763094719/wysiwyg/qcohhzcpbouw9t25vydi.jpg" style="width: 329px; display: block; vertical-align: top; margin: 5px auto; text-align: center; position: relative; max-width: 100%; cursor: pointer; padding: 0px 1px; user-select: none; box-sizing: inherit;" fr-original-style="width: 329px; display: block; vertical-align: top; margin: 5px auto; text-align: center;" fr-original-class="fr-draggable"> Joan Larkin is the author of six collections of poetry, most recently&nbsp;Old Stranger (Alice James Books). Cold River (Painted Leaf Press) received the Lambda Literary Award for Poetry, and My Body: New and Selected Poems (Hanging Loose Press) received the Publishing Triangle&rsquo;s Audre Lorde Award. A Lambda Literary Award for Poetry also went to the groundbreaking anthology she coedited with Carl Morse, Gay and Lesbian Poetry in Our Time (St. Martin&rsquo;s Press).Joan co-translated Sor Juana&rsquo;s Love Poems, a bilingual edition of poetry by Sor Juana Ines de la Cruz, with Jaime Manrique. Her prose includes If You Want What We Have: Sponsorship Meditations and Glad Day: Daily Meditations for GLBTQ People (Hazelden). Her plays include The AIDS Passion, The Living,&nbsp;If You Were Going to Get a Pet, and Wiretap. She has been awarded fellowships by the National Endowment for the Arts, the New York Foundation for the Arts, the Academy of American Poets, and the Massachusetts Cultural Council, and is a recipient of the Shelley Memorial Award from the Poetry Society of America. A lifelong teacher, she has served on the faculties of Brooklyn College, Sarah Lawrence, Smith, and Columbia Chicago, among others. She lives in Northern New Jersey.

Dear <span contenteditable="false" data-custom-variable="{{firstname}}" fr-original-class="fr-deletable styled-tag-chip" fr-original-style="" style="background-color: rgb(248, 248, 255); border: 1px solid rgb(191, 191, 255); border-radius: 4px; color: rgb(42, 42, 196); padding: 1px 8px; font-size: 11px; display: inline-block; margin: 0px; overflow-wrap: anywhere; user-select: none; box-sizing: inherit;">First name, Thank you for registering for An Exploration of Thingness with Joan Larkin. We&#39;ll be in touch with the Zoom link as the date nears. Yours in poetry, Stacy HolmesThe Frost Place

A red wheelbarrow, a steel coupler, and “an oh! of pain”: What, exactly, does depend upon “things” in poems? In the decades since William Carlos Williams wrote the now-famous phrase “no ideas but in things,” it has been axiomatic that poems should ground ideas and feelings in particulars––things we can see and touch in the physical world. Most of us take for granted that part of a poet’s work is to find the sensory details that evoke an object (or person or place) with exactness. Perhaps, too, it goes without saying that there is more to a complete poetic statement than vivid physical representation. In this workshop, we’ll look closely at poems that enter into story and deep feeling through a particular object or group of objects, often with a dive into greater emotional intensity. We’ll explore this process in work by Elizabeth Bishop, Hart Crane, Lucille Clifton, Eduardo Corral, Diana Delgado, Diane Seuss, and Jean Valentine. Where relevant to our exploration, we’ll extend the notion of “thingness” to include memorable sensory images beyond those that are purely visual.The “things” that matter in these poems are particular to each poet and inhabit the imagination under pressure, resonating from a depth. Workshop participants will be asked to consider an object or objects that compel their attention and will take away suggestions for a warm-up exercise and longer poem prompt sparked by the examples we’ve discussed. <img src="https://res.cloudinary.com/hxn9dbuhd/image/upload/v1763094719/wysiwyg/qcohhzcpbouw9t25vydi.jpg" style="width:329px;display:block;vertical-align:top;margin:5px auto;text-align:center;position:relative;cursor:pointer;padding:0px 1px;user-select:none;box-sizing:inherit;max-width:100%" /> Joan Larkin is the author of six collections of poetry, most recently Old Stranger (Alice James Books). Cold River (Painted Leaf Press) received the Lambda Literary Award for Poetry, and My Body: New and Selected Poems (Hanging Loose Press) received the Publishing Triangle’s Audre Lorde Award. A Lambda Literary Award for Poetry also went to the groundbreaking anthology she coedited with Carl Morse, Gay and Lesbian Poetry in Our Time (St. Martin’s Press).Joan co-translated Sor Juana’s Love Poems, a bilingual edition of poetry by Sor Juana Ines de la Cruz, with Jaime Manrique. Her prose includes If You Want What We Have: Sponsorship Meditations and Glad Day: Daily Meditations for GLBTQ People (Hazelden). Her plays include The AIDS Passion, The Living, If You Were Going to Get a Pet, and Wiretap. She has been awarded fellowships by the National Endowment for the Arts, the New York Foundation for the Arts, the Academy of American Poets, and the Massachusetts Cultural Council, and is a recipient of the Shelley Memorial Award from the Poetry Society of America. A lifelong teacher, she has served on the faculties of Brooklyn College, Sarah Lawrence, Smith, and Columbia Chicago, among others. She lives in Northern New Jersey.

Friends of the Frost Place

An Exploration of Thingness with Joan Larkin

Tuition

$150

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