The Frost Place

**Context Profile for The Frost Place**

1. **Organization Mission & Cause**:
   - The Frost Place is dedicated to honoring the legacy of poet Robert Frost and fostering the creation and appreciation of poetry. Situated at Robert Frost's former home in Franconia, New Hampshire, the organization aims to inspire poets and poetry lovers through various educational programs and events. Their mission emphasizes the importance of poetry in cultural and personal expression, and they strive to create a nurturing environment for poets at all stages of their careers.

2. **Type of Activities**:
   - **Workshops and Conferences**: The Frost Place hosts poetry workshops and conferences, such as the "An Exploration of Thingness" with Joan Larkin, which focus on deepening participants' understanding and practice of poetry.
   - **Residencies**: They offer residencies for poets, providing a space for reflection and creation.
   - **Readings and Events**: Regular poetry readings and events are organized to engage the community and celebrate poetic works.
   - **Educational Programs**: The organization conducts educational initiatives to promote poetry appreciation among diverse audiences.

3. **Tone of Voice**:
   - The tone is professional yet inviting, with a focus on inspiration and intellectual engagement. The language used is thoughtful and reflective, often delving into the nuances of poetry and its impact.

4. **Emoji Usage**:
   - The Frost Place does not prominently use emojis in their communications. Their content maintains a formal and literary tone, aligning with their focus on poetry and academia.

5. **Key Facts**:
   - **Founding**: The Frost Place was established to preserve Robert Frost's home and promote poetry.
   - **Scale**: The organization manages multiple forms and email campaigns, indicating active engagement with their audience.
   - **Impact**: They have a significant impact on the poetry community through workshops, residencies, and public events.
   - **Volunteers**: Information about volunteer involvement is not explicitly detailed on the website.

6. **Writing Guidelines**:
   - **Style**: Content should be crafted with a focus on clarity, depth, and literary quality. The language should be articulate and resonate with poetry enthusiasts.
   - **Structure**: Use well-structured paragraphs with thoughtful insights into poetry and its elements.
   - **Engagement**: Encourage participation and reflection, inviting readers to explore poetry's role in personal and cultural contexts.
   - **Content**: Highlight the historical significance of Robert Frost and the ongoing relevance of poetry in contemporary society.

By adhering to these guidelines, AI-generated content can effectively align with The Frost Place's mission and engage their audience in meaningful ways.

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.

The Frost Place

An Exploration of Thingness with Joan Larkin

Tuition

$150

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