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Gaby CalvocoressiRachel Eliza GriffithsMichael KleinMatthew OlzmannCollier Nogues
Martha Rhodes
Conference on Poetry Director & Faculty Member
Gabrielle Calvocoressi
2016 Conference on Poetry Faculty Member
Rachel Eliza Griffiths
2016 Conference on Poetry Faculty Member
Michael Klein
2016 Conference on Poetry Faculty Member
Matthew Olzmann
2016 Conference on Poetry Faculty Member
Collier Nogues
2016 Conference on Poetry Fellow

The Frost Place Conference on Poetry | July 10 - 16, 2016


Spend a week at “intensive poetry camp” with writers who are deeply committed to learning more about the craft of writing poetry. The Frost Place Poetry Conference offers daily workshops, classes, lectures, writing and revising time in a supportive and dynamic environment.

Participants from all over the United States and abroad join us every year to work with our world-class faculty. 2016 faculty includes Martha Rhodes, Gabrielle Calvocoressi, Maudelle Driskell, Rachel Eliza Griffiths, Michael Klein, Matthew Olzmann, and Poetry Fellow Collier Nogues.

Call 603-823-5510 or email frost@frostplace.org for more information.


HOW TO APPLY

Craft Talks at the 2016 Conference on Poetry


Martha Rhodes | Agitation

Martha RhodesThe volatile content of a poem can blow up in our faces (which could be good) or pack a quiet wallop. Material of extreme emotion will be at the heart of our discussion of Frost's Home Burial and Clifton's jasper texas 1988. We will look at, in particular, how Frost and Clifton manage highly agitated content through character development, positioning (that is, physical placement of characters in relationship to each other and to the landscape of the poem), pacing, diction, dialogue, monologue and other strategies.

Gabrielle Calvocoressi | Humans Not Heroes

Headshot of Gabrielle CalvocoressiHumans are awesome but they're never perfect. Too often our poems get bogged down by our need for the speaker or subject to be beyond reproach. We get lost in the mire of knowing what and who the poem is "about." In this class we'll look at poems by Robert Frost, francine harris, and others as a means of thinking about how we can allow our own beautiful and imperfect lives illuminate our poems.

Maudelle Driskell |

'Don't tell me the moon is shining; show me the glint of light on broken glass.' Anton Chekov

Maudelle DriskellChoosing between the informative and the evocative dramatically alters the connection with the reader, level of compression, emotional intensity, and other things including tone. Are there actually certain types of material best handled by telling? What unique advantages does the informative offer?  We will interrogate poems examining the uses of these two modes, their successes and their failures. How can we as poets best make these modal decisions and move effectively back and forth. Together we will respond to Chekov.

Rachel Eliza Griffiths | Ekphrastic Ecstasy: Intuition & Imagery

Rachel Eliza GriffithsWe will examine both poets and visual artists who engage visual works of arts to explore public, personal, and imaginary landscapes. By exploring a number of ekphrastic works, we will consider how the art of looking, of the gaze itself, occurs in language. Through generative writing and past poems, we will try to shape a psychic sensory map that will employ numerous techniques to strengthen texture, meaning, content, and transformation in our writing and reading of poems. No previous experience or foundation of photography or visual art is necessary. Our time together will focus on precision, intuition, and discovery. Let's consider where our own inner, vivid maps may guide us towards strengthening our voices and visions as poets.

Matthew Olzmann | Litanies and Grocery Lists

Matthew OlzmannLists organize our daily lives and offer coherence. This class will look at how lists can be used in poems. The focus of the class will be poetic structure: the order in which information is released to the reader. We’ll examine how listing strategies consolidate and shape their materials, offer insight, and create recognizable patterns—which are often varied—to heighten the reader’s awareness.  We’ll look at poems by Wislawa Szymborska, Whitman, Nicole Sealey, Matthew Dickman and Tom Andrews to consider how lists not only present content to the reader, but actually become a part of that content as well. Format:  35-40 minute written talk, followed by a brief writing exercise

Michael Klein | What Time Is It? Really?

Michael Klein HeadshotIn some ways, poetry is the art of everything happening at the same time—i.e., time isn’t always linear and it’s probably the single most exciting element that distinguishes poetry form other kinds of writing.  Time in a poem can be fractured, measured, turned back, flashed forwarded, denied, etc. Marie Howe once said in an interview:  “There is no what happened.”  In this hour long discussion, we will be looking at several poets and how they use time—through enjambment, end-stopping, rumination, interruption and other devices and aesthetic choices—to great effect towards moving the poem in different directions and how the manipulation of time itself is one of the essential ways a poem gathers meaning.

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