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J. M. Coetzee

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At the Everyman Cinema there is a season of Satyajit Ray. He watches the Apu trilogy on successive nights in a state of rapt absorption. In Apu's bitter, trapped mother, his engaging, feckless father he recognizes, with a pang of guilt, his own parents. But it is the music above all that grips him, dizzyingly complex interplays between drums and stringed instruments, long arias on the flute whose scale or mode — he does not know enough about music theory to be sure which — catches at his heart, sending him into a mood of sensual melancholy that last long after the film has ended.

 
J. M. Coetzee

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Other children had fathers and mothers and honored them, and they prospered and lived to a ripe old age; but he was often bitter towards his father and mother and dishonored them in his heart. His mother had cuckolded his father, and his father had betrayed his mother, and both of them had betrayed the boy. The only consolation was that he had a Father in heaven. And yet—it would have been better to have a father on earth.

 
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