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		<title>Karl O&#8217;Hanlon &#8211; Purdysburn House</title>
		<link>https://oldclearing.littletoller.co.uk/2015/11/karl-ohanlon-purdysburn-house/</link>
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		<pubDate>Fri, 20 Nov 2015 07:58:03 +0000</pubDate>
		<dc:creator><![CDATA[theclearing]]></dc:creator>
				<category><![CDATA[Poetry]]></category>
		<category><![CDATA[Karl O'Hanlon]]></category>
		<category><![CDATA[Purbysburn House]]></category>

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		<description><![CDATA[The country house poem is sub-genre of topographical poetry popular in the seventeenth century. Famous examples exist by Ben Jonson, Thomas Carew, and Andrew Marvell. In&#8230;]]></description>
				<content:encoded><![CDATA[<p><em>The country house poem is sub-genre of topographical poetry popular in the seventeenth century. Famous examples exist by Ben Jonson, Thomas Carew, and Andrew Marvell. In this form the poet would praise a wealthy patron by offering elaborate and often intricately symbolic descriptions of the house and grounds often drawing on their history and political or religious associations. This week we&#8217;re pleased to be publishing a </em>new<em> country house poem by Karl O&#8217;Hanlon, but one with a contemporary, self-reflexive twist.</em></p>
<p>&nbsp;</p>
<p><strong>PURDYSBURN HOUSE</strong></p>
<p><em> </em></p>
<p><em>i.</em></p>
<p><em>‘I limned this night-piece’</em></p>
<p><span style="color: #ffffff;">ooo</span> &#8211; John Webster</p>
<p><em> </em></p>
<p>Narcissus Batt:</p>
<p>&nbsp;</p>
<p>Where broken hedge reveals a biting snow</p>
<p>in first settle a badger roots, its slow</p>
<p>brusque eradicating head earthward bent.</p>
<p>The formless, roomless sky pent</p>
<p>with thunder silhouettes my masterpiece,</p>
<p>her body resurrected</p>
<p>in sullen brick, perfected</p>
<p>in line and form (a voice in the aster trees…)</p>
<p>&nbsp;</p>
<p>In countless drafts the movement never tires,</p>
<p>a necromancer’s dark reactive fires</p>
<p>kindling her conformable will.</p>
<p>I’m after a plain high style</p>
<p>demanding architectural constraint:</p>
<p>to render her massed electric,</p>
<p>all her vanished eccentric</p>
<p>lines in clean and classic restraint</p>
<p>&nbsp;</p>
<p>And yet mark how these leathern sow-faced bats</p>
<p>flit in stone on the escutcheon – if that’s</p>
<p>not a compromise of classic and absurd,</p>
<p>mock-Tudor piece of tact. The surd</p>
<p>mansion flesh quickens, my January bride;</p>
<p>the masons, the brittle glazier,</p>
<p>the sunken gardens of pleasure</p>
<p>bristling in tune. In the end, she too will bridle.</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p><em>ii.</em></p>
<p><em>‘I do hope it’s MY dream, and not the Red King’s’</em></p>
<p><span style="color: #ffffff;">ooo</span> &#8211; Lewis Carroll</p>
<p>&nbsp;</p>
<p>Margaret Batt (née Greg), d. 1840</p>
<p>&nbsp;</p>
<p>Summer, glorious variegator,</p>
<p>sways sycamore stormcladding treetop</p>
<p>sea-music, drunk</p>
<p>-lusty. In the gloom of my father’s house</p>
<p>my lace ministry of dolls</p>
<p>precisely gather under a draped table,</p>
<p>hacking up fealty.</p>
<p>Behold the linen and the china Queen.</p>
<p>&nbsp;</p>
<p>‘Come, Miss, into the pollen-sweating fields,</p>
<p>Miss, come you out</p>
<p>to promenade Donegall Square; lampboys</p>
<p>will flit ahead to measure your footsteps</p>
<p>with oil roses.’</p>
<p>‘A mill, Miss Peg – ’ ‘A shipping company…’</p>
<p>‘These veins silted</p>
<p>with de Courcy blood!’ I spurned all</p>
<p>for bats to roost among my auburn hair.</p>
<p>&nbsp;</p>
<p>The house sighs, the house grins;</p>
<p>thick bars of light</p>
<p>lock the gold dust in pert quadrilles.</p>
<p>I learn the new courtesies, his tenderness</p>
<p>close to cruelty.</p>
<p>He builds his love in hunched study</p>
<p>late (I am an unfinished blueprint).</p>
<p>He will beat my soul into shape.</p>
<p>I will not go –</p>
<p>&nbsp;</p>
<p>the bed that winter went like snakes</p>
<p>and it coloured.</p>
<p>Robert Narcissus yawled, a blue shoat,</p>
<p>giving my pierced mind a kind of hope</p>
<p>that milked my blood.</p>
<p>Flesh of my burning flesh,</p>
<p>disinherited by finials, spandrels!</p>
<p>Unexpected thing:</p>
<p>at twenty-two I died, happy.</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p>What can be built</p>
<p>can be destroyed:</p>
<p>&nbsp;</p>
<p>I will not be laid</p>
<p>brick on brick:</p>
<p>&nbsp;</p>
<p>no stark passion</p>
<p>so far obsessed:</p>
<p>&nbsp;</p>
<p>listen to the voice</p>
<p>in the aster trees.</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p>Note: the daughters of Narcissus and Margaret Batt declined inheritance of Purdysburn estate, and Batt handed it over to the Hospital Commissioners. Purdysburn House became ‘an asylum for the lunatic poor.’ The building was demolished in 1965. Today, the site is a mental health hospital.</p>
<p>&nbsp;</p>
<p><a href="http://theclearingonline.org/wp-content/uploads/2015/11/Purdysburn-Gardens.jpeg"><img class="alignnone size-large wp-image-1604" src="http://theclearingonline.org/wp-content/uploads/2015/11/Purdysburn-Gardens-1024x641.jpeg" alt="Purdysburn Gardens" width="492" height="308" /></a></p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p>Karl O&#8217;Hanlon was born in Belfast and grew up near Purdysburn. His poems have appeared in <i>Stand</i>, <i>Agenda</i>, and <i>Blackbox Manifold</i>.</p>
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