Benedict stands
in the porter's lodge,
circa 1969, waiting
for Dom Tyler the monk,
to bring the large key
to open the church for Matins.
Dawn, cold air, smell of age
and incense and baking of bread.
He remembers Sonia,
the domestic at the home,
who pushed him to the bed
of old Mr Gillam and said
in her soft Italian,
Potrei fare sesso con te qui,
then in her broken English said,
I could have *** with you here.
Another joined Benedict
in the porter’s lodge,
some holy-Joe type,
breviary under arm,
starved gaze.
The silence,
the smell,
the chill.
Dom Tyler opens the door
from the cloister
and rattles the key,
smiles, but does not
break the Grand Silence.
He takes them out
into the morning air,
opens up the church.
Lights are on, monks
are assembling, bell rings,
Benedict takes a seat
on the side pew,
the other sits
more in front.
The old monk who last time
talked to Benedict
of monastic life,
slides by, his body aged,
his habit like a shroud.
How he escaped Sonia,
how he managed
to get away unmolested,
he finds it hard to fathom,
except the promise
of the cinema,
the seats at the back,
the kisses and touching,
all in the dark,
the flashing images
of the film going on.
Potrei fare sesso con te qui,
he utters under-breath.
The Latin of early morning
Matins begins, he dismisses
her image and her words.
The holy-Joe opens his breviary
in the semi dark, his finger
turning pages, muttering,
his head nodding
to an invisible prayer.
Benedict imagines Sonia
creeping into the pew,
muttering Italian,
sitting there.
