“The Death Issue” December 2015 1

shown through metal grates. The front is shaped like a scalene triangle and the roof
ascends gradually to a peak at the back, under dark slats. A notice board confirms the
address.
Behind a wrought iron fence covered in wisteria, they walk up steps. Outside the door,
they switch off their mobiles and compose themselves before entering.
Daylight envelops the cement space through a huge glass wall on the righthand side.
The sparse interior has a mild austerity.
Above the open chancel, stained glass shines down on a black steel pulpit. The alter, a
slab of concrete, is draped in an opal blue cloth. Two poles welded into crosses stand
beside it.
They walk the stone floor towards two sections of pews, upon which are seated a dozen
people in silence. One area enclosed. The other exposed.
Secluded in a balcony, above the entrance, is the organ.
At a shaded spot in the back, they take a seat. He looks at her and she meets his eyes.
Thanks shown in their shared expression. The bell stops.
Brass pipes begin to boom a solemn melody that builds and falls along low notes in
progressively swifter motions. The foot pedals added with a stern pulse.
When the high notes join, the tempo mounts and a French horn signals a compliment to
the bass. The arrangement leads their thoughts along, as they survey the room.
At the far side, Aaron notices a single blind arcade the shape of a sealed door. To him, it
being sealed implies that it can, and should, be opened. It makes him consider the
Christian myth in terms of its symbols, whilst he and interprets the meaning of the
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