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