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Frank Conroy held classes in the English Philosophy Building (EPB) during his time as faculty at the Iowa Writers' Workshop. The Workshop moved from the EPB to its current home in the Dey House in 1997.

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In a dark wooden booth at the Foxhead one night, the air blue with cigarette smoke and the clatter of pool balls, Frank confided to me that he had just gotten an advance for the novel he was then writing, $250,000. Suddenly I could see that he was no ordinary academic. We sat drinking with Joseph Brodsky another night, the jukebox playing and a bell at the bar being rung every time someone ordered a local beer called Dubuque Star. Brodsky had come to Iowa City to read. He was not the only Nobel laureate to do so. Derek Walcott came and Seamus Heaney, who read to a crowd that overflowed onto half the stage. While it did not rival Stockholm, the invitation to Iowa City was a distinction. Almost every week someone of interest arrived to read, and there were dinners with them beforehand.

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Frank Conroy acted as the director of the Iowa Writers' Workshop for 18 years, from 1987 until 2005. In 1997, Conroy oversaw the Writers' Workshop relocation, from the English-Philosophy building to this nineteenth-century house on Clinton Street. Prior to that, the Workshop occupied many settings, finding its first home in a barracks on the banks of the Iowa River in 1936. The Frank Conroy Reading Room, which was completed in 2006, has vaulted ceilings and a magnificent library.

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In the first panel, “What we learned from Frank Conroy,” the reason for the attendance at the morning session became clear. Conroy, who passed away in 2005, was one of the most beloved faculty members of the Workshop, and as director from 1987-2005, he shaped a lot of what the Workshop has done over the past few decades. Three presenters—Charles D’Ambrosio, Curtis Sittenfeld, and Abraham Verghese—relayed their favorite tales about the man whom Sittenfeld described as “funny, candid, and unflappable.” With each speaker, the affection and appreciation for their mentor was apparent. All three shared bits of wisdom they’d gleaned from Conroy on how to read, write, teach, and live. D’Ambrosio spoke of how Conroy’s influence on him extended beyond his writing, admitting “I didn’t have a model for thinking differently about my life until I met Frank.” Verghese noted that Conroy’s class gave him as close to dogma of writing as he found anywhere else: “The writer exists as a collaborative venture between writer and reader.”

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