You're listening to Burnt Toast. I'm Virginia Sole-Smith. Today my conversation is with the brilliant Savala Nolan.
Savala is a writer, public speaker and professor at UC Berkeley. Her brand new book, Good Woman: A Reckoning is out now.
Her first book, Don’t Let It Get You Down: Essays on Race, Gender and the Body, was shortlisted for the William Saroyan Prize and celebrated as a “standout collection” by the New York Times. Savala's writing has been featured in Vogue, Harper’s Magazine, the New York Times, NPR, TIME and more.
I have a lot of conversations about bodies. I have a lot of conversations about gender. There is a lot that I thought I knew about race and bodies and gender in America. Reading Good Woman and talking to Savala blew my mind apart in ways that I'm still putting back together.
This conversation is a must listen. This book is a must read.
There was so much good stuff in this conversation, we are breaking it up into two episodes. Today in part one, we’re talking about bodies, race and gender. Part two will drop in two weeks, and that's when we're getting into sex, divorce and Savala’s classy and trashy butters. That conversation will be for paid subscribers only, so go to patreon.com/virginiasolesmith to join us. Membership starts at just $5 per month. You're not going to want to miss this one.
One last thing! Trust me, you will want to read Good Woman after hearing this conversation. If you order it from my local independent bookstore, Split Rock Books, you can take 10% off if you have also ordered a copy of my book Fat Talk from them. Go to Split Rock Books and use the code "fat talk" at checkout.
Here's Savala.
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Episode 235 Transcript
Virginia
Why don't we just start by having you tell listeners a little bit about who you are and what you do?
Savala
I'm a writer. I was thinking about this question quite a bit, actually, because my very first instinct is to say I'm a mom, which makes perfect sense. Motherhood is all consuming. But I thought I'll start with something that doesn't include my relationship with another human being, just in the interest of practicing my own wholeness.
So, I'm a writer and a mom and a lawyer. I direct the social justice program at UC Berkeley's Law School, which is really a privilege and gives me a lot of hope, because I get to see hundreds of law students every day who want to change the world and make it better.
I'm also a former dieter. Like a hardcore, former dieter, which is what initially brought me into your world and your work. I was put on my first diet when I was two or three, and rode those waves up and down until I was maybe 36 or 37, so I've got a few decades under my belt.
I include that in my biography because that experience of going on and off diets for so long, and of being almost pre-verbal when I was indoctrinated into that world of dieting, informs a lot of what I do, including as a mom, including as a lawyer, including as a writer. Body liberation, gender and race, they fascinate me endlessly, how they play together and kind of co-create each other. Most of what I write about, and definitely what I write about in Good Woman, stems from that experience of dieting, and then breaking free from dieting in my thirties.
Virginia
That is the best intro I think anyone's ever given themselves on the podcast.
Savala
Oh, stop.
Virginia
No, really. I love that you are like, 'Let me own this part of my story. This is the origin point. And then now let's get into the conversation.' That's fantastic.
We are here to talk about your exquisite new book Good Woman: A Reckoning. It is a collection of 12 essays about what it means to be a woman. It's this incredible blend of memoir, reporting and history. I would love you to read us the first paragraph, just to set the stage for everything we're going to talk about.
Savala
I'll just take a quick second to set it up a little bit.
I'm trying to take a critical and very skeptical eye to all the ways that women and girls are socialized to be good. Almost from birth, right? In our particular culture, good means agreeable, quiet, serving of others, all the things that probably would pop into any woman's head when she hears the idea of a "good woman" or a "good girl." I'm trying to unpack and destroy some of that socialization in my own life, and think about what lies beyond it. To kick the book off, there's this very short essay that's sort of a manifesto. I think of it as a huge bell that rings to open the book.
Here's the first paragraph.
I refuse to be good. This is a matter of survival, not inclination or mood. I refuse to be easy and I refuse others preferences. I refuse to be amicable and I refuse to appease. I refuse to go along and I refuse to agree. I refuse to do what I was trained to do. Instead, I choose whatever lies beyond my social conditioning, even if I'm still looking for it, still spurring it into being. This is work of the mind, cerebral and tough. This is work of new language, new concepts, new intonations and my thinking must expand to fit the scale of all existence. It is also body work, work that is nailed to my flesh. It is gestating of new bones, an anointing of muscle and fat. It is passing through the stomatous black opening of my own cervix to the bright field, waiting on the other side in the wilderness. It is a lot to take on. But I welcome the challenge and the mystery and the darkness. It was in darkness that the universe was made. It is in darkness that each day is made new.
Virginia
Thank you. That was incredible. Really, it was.
Savala
Thank you.
Virginia
I loved how you opened the book because it encapsulates so many of the themes that you then go deeper in in every chapter. One of the biggest themes of refusal in the book is around the body. You write about how Black women's bodies in particular are constrained, controlled and made not their own. I really, really want people to read this because we don't have time to talk about all the history you go through and it's so well done. You trace this narrative from Sarah Baartman and Sally Hemings all the way to Nicki Minaj, connecting so many dots. It's really powerful. What has and what hasn't changed when it comes to how Blackness and fatness are policed for women?
Savala
I love this question. We could probably write a doctoral thesis or dissertation on this question alone. So I'll just sort of share what comes to mind, a sort of smorgasbord of thoughts that come to mind when you ask this question.
The first thing is, there's an overlap when we talk about Blackness and fatness in this culture. The very first point to make is that everything here is cultural. Not all cultures treat women's bodies, Blackness and fatness the way we do. That's the page on which everything else is written.
It's interesting to me that when we talk about Blackness and fatness, the stereotypes overlap, right? Both fat people and Black people are viewed in this culture as out of control, lazy, kind of greedy, having a hyper appetite. Either being hyper-sexualized or de-sexualized. You either have the kind of va-va-voom, or the 'friend, never the leading lady' when it comes to fatness. With Blackness, it's the same thing. You either have the video vixen - this kind of hyper-sexual Black woman in a music video - or the mammy.
It's interesting to me that the stereotypes overlap so much, and maybe the most powerful way they overlap is that they're both undesirable. They're both things in our culture that you should try to get away from if you can. You should try not to be too Black or too fat in our culture. So to me, as a woman who's fat and Black, it's kind of a one-two punch. They work together. The stereotypes overlapping tells you there's some relationship in our culture between these two things. And as you say, it goes way, way, way, way back in this country. It goes to chattel slavery, where Blackness and fatness started to be policed together and associated together, very literally.
I talk about this in the book - there's a magazine called Godey's Lady's Book, which you might consider the Vogue or Good Housekeeping of today. Sort of fashion, but also home-y stuff. It was the biggest magazine in the antebellum country. And they talked all the time about how white women should stay thin or else they might start to be Black, like they might start to be looked on as if they're Black. There's another article from that magazine that says, "If a white woman gets fat, she might as well put herself in Black face."
You can't see it if you're listening, but there's a lovely eye roll from Virginia.
Our culture has long braided these things together. That's the history when you think about what hasn't changed. I think they are still braided together. When we think about what has changed, from my vantage point, there was maybe five or 10 years where it felt more ok to be fat, and more ok to be Black. It was the like ascendance of Lizzo, you know?
Virginia
A brief shining moment.
Savala
It was a shining moment. There was also the George Floyd moment. There was a political reckoning with Blackness that was refreshing. I guess maybe it wasn't even five years. It was a brief window. Now it feels like we're in a backlash. It feels a little bit like the more things change, the more they stay the same. We had this moment of a collective leap towards something like liberation.
Because of politics and because of the capitalistic nature of the pharmaceutical industry in this country and GLP-1s being so, for now anyway, profitable, we're seeing a real backlash to both fatness and Blackness. That lands on women really hard, because of how women are tied to our bodies in this culture in a particular way. So I guess I would say, the more things change, the more they stay the same.
The silver lining being that because we did have these few years of something like enlightenment, the first sun rays coming over the mountain, there are a lot of people who have a much higher capacity to talk about what our culture does to fatness and Blackness than there were 20 years ago, right? So that's a silver lining, I think.
Virginia
Yes, I agree with that.
We see these moments of women claiming their bodies and claiming control over their bodies, and then facing tremendous backlash. You talk about the Nicki Minaj album cover that she was taken to task for being too sexual, too graphic, etc.. She was like, 'It's my body.'
Savala
'It’s my body.' Also, it's no worse than a Sports Illustrated swimsuit issue and everybody likes those.
Virginia
Yes, they sure do. But those are skinny white lady bodies.
Savala
Those are skinny white ladies, not voluptuous Black women.
Virginia
There are these moments where we have the conversation. Whereas if she hadn't had the album cover, we wouldn't have had the conversation. But I'm with you on how it's not enough. The backlash feels so brutal right now. But I do hang on to those moments.
Savala
I do, as well. The comfort of a backlash is that you know you were doing something right. You can't make a quilt with one stitch. You have to put a lot of stitches in. So we have to keep stitching as far as our own liberation goes. The backlashes will come periodically, the tide comes in and out, you just try to keep inching it forward. I'm hopeful that we will continue, ultimately, to do that.
Virginia
And keep reminding people where we've been. I really appreciated your post on Instagram this week. There's been so much talk about ICE as the gestapo and you were like, 'Guys, it's not the gestapo, it's slave patrols.' It's our own country. It's our own history that's coming up again here.
I should note for listeners, you're hearing this in March, but we recording this at the end of January, right after all of the violence and murders in Minneapolis.
Savala
I understand the urge to look to other countries and the violence in other places, and it's gestapo-like, you know. It's certainly fair to think about a comparison. But to completely ignore the fact that we actually invented this stuff.
Virginia
That the gestapo guys learned it from us.
Savala
One hundred percent. Exactly.
Virginia
They've been watching what America was doing.
Savala
Yes, and it's sad to own it, but it's a necessary step, and managing it and moving beyond it is to hold it close and see that it's our own stuff. It's like an individual who wants to grow and improve. They have to own their shit. 'Oh, this is my shit. I have to work on it.' It's the same. It's just at the level of culture.
Virginia
As a country, we have to own our shit, and some of us are doing more of that than others.
Well, on the level of the individual, you write a lot in the book about growing up as a fat little girl, being put on diets so heartbreakingly early and then continuing to pursue thinness throughout college and early adulthood. Now that you're on the other side of that, you write about how abandoning the pursuit of thinness feels like becoming a non-woman. I really was interested in this idea of the non-woman. I would love to talk about that a little.
Savala
There's a quote I love from a scholar, Sander Gilman, who studies fatness and gender. You might know this quote Virginia, some of your listeners might, too. He writes that dieting is a way that women show they understand their role in society. Part of the way that women remain and become legible in our culture is by practicing and performing privately and publicly dissatisfaction with their bodies and the pursuit of a better body, which generally means a thinner body, a more toned body, or a "healthier body."
When you do those things as a woman, people get it. They understand you. They don't have to make any inferences. They don't have to wonder what you're doing. It's instantly obvious. When I talk about how much people rely on that sort of vocabulary to understand women. When I talk publicly at schools about this, one of the first things I do in my talks is post a before and after photo without the words "before" and "after." I ask people to raise their hands if they know what it is. The room could have 300 people in it and everybody raises their hands. They know exactly what they're seeing. That's what I mean when I say that the performance of dieting, or body improvement, or body shame, publicly and also privately, makes you readable as a woman to the culture. People can literally read it instantly, the way you can read a stop sign.
When you stop doing that, when you stop dieting, exercising in ways that are meant to control the shape of your body, the weight of your body, all that stuff. When you stop using that vocabulary to bond with other women, when you stop policing what other people eat. When you stop doing those things, people don't get it. There's some level on which you're no longer performing the role of a woman. That's what I mean when I say that you become a non-woman. You become this other entity, that, let's be clear, exists in other cultures. It has existed in this culture to some extent, in various pockets of it, but that's what I mean. You step outside of the mold, and then people aren't quite sure what to do with you.
Can I give a quick example?
Virginia
Yeah, please.
Savala
I work with a fabulous team of people I love and adore at UC Berkeley. One of them had a birthday, so to celebrate, I brought in a box of fabulous French pastries. We have a little birthday party and we invite lots of people to come by and pick something up if they want to. Every single person, every person, who came in the room said something, and they all happen to be women, something like, 'Ooh, I worked out this morning. That's how I that's how I earned this.' Some version of, 'Oh, God, I shouldn't. I had a bagel for breakfast,' or, 'I'm gonna cut it in half because I think I'm gonna have a big dinner tonight.' I was the only one who didn't. At some point I said, "Come on, guys. Let's just let the food be food. We don't have to earn our food here."
Virginia
You don’t actually have to publicly perform.
Savala
You could have heard a pin drop, Virginia.
Virginia
Oh, I'm sure.
Savala
It was like I said something in a different language. People don't know how to read the moment anymore. They don't know how to read me anymore. It's so disruptive. So that's what I mean about becoming the non-woman. In that essay, I then go on to talk about the joy of being a non-woman. I don't mean this in the sense of gender identity, I mean it in a more metaphorical, philosophical way. I very much identify as a woman.
Virginia
Right, but you're rejecting these expectations and this narrow definition of womanhood.
Savala
One hundred percent. It's a little experiment. If listeners want to try that, I'm sure most of your listeners are already at least one foot in the door of not dieting anymore, but if they want to try performing something else and seeing how they become no longer instantly readable in the space, they'll know what I mean.
Virginia
It's interesting because it's about how you simultaneously become more visible because you're doing this uncomfortable thing no one knows what to do with, and you're rendering yourself more invisible because you're no longer saying Yes, you can identify me as a sex object. Yes, you can identify me as young and thin and pretty and all the you know. So then it's like, 'Oh, we don't know what to do with her.'
Savala
Totally. It's a spotlight. It's like, what's that? There's some rubbernecking that happens and you can be in the mood to deal with it or not. It's not like I always will say something when I'm around little pockets of diet culture. But in that moment, there were 12 or 15 people who came through and it was every single one.
Virginia
Can we not just eat the pastries?
Savala
Yeah. And if you don't want one for whatever reason, that's ok.
Virginia
Don't tell us why. Just don't eat it. It's fine.
Well, that's a great example too, because that's also the kind of modeling that I'm sure you're conscious of doing in front of your kiddo. There's a line in the book I really loved where you write:
My child is my child, carrier of my histories, and I worry she'll be particularly vulnerable to dieting. In order to fortify her, I build a home life free from diet culture.
This is, of course, a huge focus of my work. It's why I wrote Fat Talk.
Savala
It's the bread and butter, if you will.
Virginia
It is the bread, yes. We'll get to the butter, but it's definitely the foundation of Burnt Toast. Deliberately, I'm more likely to say, 'Let's just eat the cake,' or 'Eat the dessert' when I know my kids are listening, because I've got to model the other way. I've got to model the non-woman for them.
I would love to know what are some of the little things you do to get the anti-diet, parenting stuff in?
Savala
Well, the number one thing, and this will be very familiar to the Burnt Toast crew, is I, myself don't diet. That's number one. I don't pursue intentional weight loss, and I haven't since my daughter was about six months old. That was breaking point when I started to look for a different kind of life. Not only do I not diet or pursue intentional weight loss, I never, not once, have ever spoken ill of my body or complained about my body in front of my daughter.
It's funny when you're raising a girl because on the one hand, I want my daughter to feel beautiful and I want to speak a sense of beauty into her. "Oh, you're so beautiful." And I want to talk about myself through the lens of beauty for that reason, too. On the other hand, you don't want to over emphasize beauty and teach them that that is a super meaningful currency that they have to ... you know what I mean?
Virginia
It's like, 'You are beautiful and it's the least interesting thing about you.' You're holding both of those with both hands all the time.
Savala
All the time. So I speak well of my body, but try not to do it in a way that feels too "cover of a magazine" oriented. There are other little things like, we decant food in our house so most of it is not associated with "nutrition information."
And we talk about nutrition information, because she picks it up in the world. But in our house, it's just in the container. I make a point of letting her choose how much she eats. I tend to take on the responsibility of picking what's on offer, and then she chooses how much. But we've mix that up as she's gotten older.
I fill my home with physical media, like figurines, statues, posters, books that have all kinds of bodies, especially fat bodies, because I want that to feel normal and celebrated for her. I want her to see fat bodies depicted as beautiful, wonderful things, not just as things we try to move away from or punish. It's good for me, too. Almost anything that I practice for myself, I practice for her, in an age appropriate way.
Including being really playful. It doesn't all have to be political. I talk in the book about this one episode where my daughter was probably about four or five years old, and she wanted some chocolate chips after she had already had dessert. Initially, I was like, "No, you had your ice cream. We'll have chocolate chips another time." And then I was like, I want some chocolate chips. I said, "Actually, yeah, let's have some chocolate chips." We each had a little handful, and she said, "I wish I could have more." And I was like, "I think one is enough." And then I was like, "Actually, let's have more." And we sort of did that playfully a few times. She still loves it. She remembers it was such joy. My goal there was to have a little fun, but also to celebrate appetite, and take this moment that we often are taught to read as personal failure - going back for a little more - and change it into something that was fun and goofy and totally fine.
Virginia
Celebrating pleasure. Yeah, let's have more. It tastes good tonight. Let's do it and not feel like we have to put guardrails around that.
Savala
Exactly. I look for moments like that, and I'll say, who knows what the future brings, but my kid has a really joyful, non self-conscious relationship with food that involves eating all kinds of things, including broccoli and kale, and with her body. Who knows what the world brings? Well, we do know what the world brings. We know what's coming, but she has a foundation that's much better than mine was.
Virginia
Yeah, such a different foundation than what you had. And that has to do something. I have to believe that.
Savala
Yeah, it has to. It has to. And I must say, obviously, your book inspired me and was part of my inspiration in how I approached feeding my kiddo.
Virginia
I'm so glad it's helpful. Yeah, I mean, it's always a work in progress, but it is really rewarding when you see kids having that ease and not overthinking and not getting caught in those in those traps that we do.
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Butter
Editor's note: We're splitting Savala's interview into two episodes, so tune in to part two on March 19 to hear Savala's "classy and trashy" butters.
Part two will be for paid subscribers only, so go to patreon.com/virginiasolesmith to join us. Membership starts at just $5 per month. You're not going to want to miss this the second part of this conversation.
Join Just Toast!
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Virginia
All right. Well, this was an amazing conversation. Thank you so much for being here. Just tell folks where we find you and how we support your work.
Savala
Oh, it's been a serious joy to be here. I could do it all again.
The best way to support my work is, of course, to buy Good Woman: A Reckoning and share it with the women in your life that you love, and maybe even the the men in your life that you love.
Virginia
I agree with that.
Savala
If you can't buy it, you can get it at libraries, or borrow it from a friend. Obviously, as an author, I'm interested in book sales, but mostly I'm interested in the ideas in the book doing good in the world. So read Good Woman.
If people want to hang out a little bit, I'm on Instagram at savalanolan. SavalaNolan.com is my website, which is another way to get in touch with me. I totally welcome that. I love doing book clubs, talking to readers, all that stuff, so if folks are interested, they should reach out.
Virginia
Thank you, Savala. This was such a joy.
Savala
Thank you, Virginia. The pleasure was mine.
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The Burnt Toast Podcast is hosted by Virginia Sole-Smith and Corinne Fay. You can follow Virginia on Instagram at @v_solesmith and on Bluesky at @virginiasolesmith.bsky.social. You can follow Corinne on Instagram at @selfiefay, on Bluesky at @corinnefay.bsky.social and on Patreon at Big Undies.
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Thanks for listening and for supporting anti-diet, body liberation journalism!