A Quote by Alexandra Fuller

Being a white southern African who saw the transition from Rhodesia to Zimbabwe, the sense of being an outsider was absolutely instilled in my limbic system. — © Alexandra Fuller
Being a white southern African who saw the transition from Rhodesia to Zimbabwe, the sense of being an outsider was absolutely instilled in my limbic system.
There's nothing worse, I guess, than being black in an all-white church or being southern and being a liberal.
On April 18, 1980, the last outpost of empire in Africa died. From Rhodesia's ashes rose a country that would take its place among the free nations as Zimbabwe, the last among equals. And men and women leapt to embrace this dream called Zimbabwe.
America as a setting seems inexhaustibly fascinating to me, and I think there's something about the outsider viewpoint that works for me. Being of Jewish descent in England always carried a vague sense of being foreign, while not being a practicing Jew made it hard to think of myself as fully Jewish either. So living here in a way just clarifies that terminal outsider position - makes it somehow official, which I like.
One of the things that Ang brings to all of his projects is his deep sense of being a double exile, an outsider's outsider.
I remember people saying: 'You look funny, your hair is so black, you have a flat nose,' but I didn't think of it being racism, and I still don't. But there was a sense of difference, of being an outsider.
When the white man came to Africa, the white man had the Bible and the African had the land, but now it is the white man who is being, reluctantly and bloodily, separated from the land, and the African who is still attempting to digest or to vomit up the Bible.
[Winning the White House was an achievement], but as an African-American, [Barack Obama], I think the symbolism is in how he conducted himself. The symbolism was in - and this sounds really, really small, but it's actually big for African-Americans - the symbolism was not in being an embarrassment, but to being a figure that folks were actually proud of.
I have always found it curious that Americans consider Roots' an American story. I first watched it growing up in Zimbabwe, and I naturally saw it as an African story.
I'm happy with being white. I'm fine with being white. I feel zero shame whatsoever in being white.
The feeling of being an outsider was a big part of my childhood. I think that helps comedians. That feeling of being an outsider. That desire for a perspective that's all your own. The idea for me to make stuff myself with my own meaning came from that as well.
I remember, when I went away to college at Southern Methodist University in Dallas, my aunt sent me a book with the rules of being a Southern Belle. One of the rules was to never wear white after Labor Day. Fashion has a lot to do with confidence and making up your own rules.
Many white people sense that they are being blamed for the sins of white slave owners and imperialists merely through some lineage of ethnicity. Activists' constant stress on white privilege can lead to an unhealthy defensive posture of white victimhood.
When young I did my best to undo that bit of the British Empire I found myself in: that is, old Southern Rhodesia.
The mockery made him feel an outsider; and feeling an outsider he behaved like one, which increased the prejudice against him and intensified the contempt and hostility aroused by his physical defects. Which in turn increased his sense of being alien and alone. A chronic fear of being slighted made him avoid his equals, made him stand, where his inferiors were concerned, self-consciously on his dignity.
I've always been an outsider. I think, being in the White House press corps, it's difficult to do the sort of journalism that I would want to do.
I was an insurgent. I was, you know, an outsider. And I'm not sure that I'm not better being an outsider.
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