A Quote by Prue Leith

It was hugely helpful to me, being South African. I have never felt uncomfortable in posh society because I don't see what it is that I'm meant to be bowing the knee about.
Writing has always been a serious business for me. I felt it was a moral obligation. A major concern of the time was the absence of the African voice. Being part of that dialogue meant not only sitting at the table but effectively telling the African story from an African perspective - in full earshot of the world.
I think all of my writing life led up to the writing of 'The Train Driver' because it deals with my own inherited blindness and guilt and all of what being a white South African in South Africa during those apartheid years meant.
There is a tendency just to talk about foreign investors. Over 80 per cent of new investment in the South African economy is South African and therefore the engagement of the South African investor is also a critical part of this process.
We do not have a South African as a member of the African Commission. The President of the Commission comes from Mali, the Deputy comes from Rwanda and then we have got all these other members, ordinary commissioners. There is no South African there. And the reason, again, for that is not because we didn't have South Africans who are competent.
Mother used to say it meant Christopher was a nice name because it was a story about being kind and helpful, but I do not want my name to mean a story about being kind and helpful. I want my name to mean me.
At the outset, I want to say that the suggestion that the struggle in South Africa is under the influence of foreigners or communists is wholly incorrect. I have done whatever I did because of my experience in South Africa and my own proudly felt African background, and not because of what any outsider might have said.
I am South African and I am so aware, even as a white, privileged South African, that even within our community of privilege the idea of talking about sex or sexual preference or sexual identity or anything like that was just, nobody ever did that and nobody ever felt comfortable doing that.
I never know what defines you as being posh. I went to a posh school, definitely.
I write about the human condition, as a South African. I sometimes see South Africa with the spectacles of the past and there will then be a political content in my writing.
I think there's no way of avoiding the South African or African influence from coming into my music, just because I spent 19 years of my life there. Being a kid, my early musical experiences were there.
I can say, 'I am terribly frightened and fear is terrible and awful and it makes me uncomfortable, so I won't do that because it makes me uncomfortable.' Or I could say, 'Get used to being uncomfortable. It is uncomfortable doing something that's risky. But so what? Do you want to stagnate and just be comfortable?'
I just want my daughter to grow up in a society where she feels accepted being South African, German and Ukrainian.
I can see quite clearly that if there was a single event that launched me on the road to ultimate involvement at the heart of South African politics, it was an assault on an African woman by her white employer in a kitchen in Fort Hare.
My brother and I were brought up sort of thinking that we were English. I remember hearing the poet Roy Campbell on the radio and being quite shocked that he had a South African accent. I didn't know there were any South African poets.
A number of African countries came to us and said, we request that South Africa should not field a candidate, because so many other African countries wanted to, and, in any case, South Africa would continue to play a role in terms of building the African Union, and so on. And they actually said, please don't field a candidate, and we didn't. As I have said, it is not because we didn't have people who are competent to serve in these positions.
I've never been bothered about being the highest wicket-taker in the world or the best South African bowler in the world.
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