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You’re listening to Burnt Toast! Today, my conversation is with the iconic Sarai Walker.

Sarai is the author of The Cherry Robbers and Dietland, which came out in May 2015—and is celebrating its 10th anniversary this month.

Dietland is one of those books that means so much to me, it’s hard to put into words. I consider it a foundational text of the body liberation movement of the past decade. It was adapted as a television series starring Joy Nash for AMC in 2018. It’s just one of those books—that inducted so many of us into conversations about fatness, feminism, radical social action.

Sarai has also lectured on feminism and body image internationally. Her articles and essays have appeared in The New York Times, The Washington Post, The Guardian and elsewhere, and she worked as a writer and editor on an updated version of Our Bodies, Ourselves.

I asked Sarai to join me today to reflect on what 10 years of Dietland has meant to her. We also talk a lot about the very mixed experience of being a public fat person, as well as being a woman, and a writer, in midlife. You will love this conversation.

And! If you order Dietland and Fat Talk together from Split Rock Books, you can take 20% off the combo with the code FATLAND.

If you’ve already bought fat talk from Split Rock, you can still take 10% off Dietland or any book we talk about on the podcast, using the code FATTALK.

Today’s episode is free but if you value this conversation, please consider supporting our work with a paid subscription. Burnt Toast is 100% reader- and listener-supported. We literally can’t do this without you.

Episode 195 Transcript

Virginia

This is really a big thrill for me. Dietland came out in 2015, we’re here to celebrate its 10th anniversary. I read it pretty soon after it came out, and I remember reading about Plum and Calliope House and the Jennifer vigilantes who were killing all the evil men, and just thinking, how is she in my brain? How is she writing my whole heart in this story?

So to start us off with what is probably an impossible question: How does that feel, to have contributed something that is so important to the canon? And by canon, I mean the fat feminist literary canon.

Sarai

It’s funny, as an author, I don’t know if I feel it the way you’re describing it. Man, I hope that that’s the case! I guess it’s for other people to decide what a book’s legacy is, whether it’s important or not. What I can say—you know, the book turns 10 this month, and it has really meant a lot to me over the years that people have just connected with it in such a positive way.

People related to Plum’s story, they really felt that I put into words something that only they had felt, which was one of the things that I really had to work hard on in the book, because I had all these feelings about my own experience with my own body. And I was like, how do I put that into words? So that was the struggle of writing the book and being able to do that. I was so happy when people really felt that the book could speak for them in certain ways, that it gave them a voice.

I still hear from people! I heard from somebody just yesterday who said the book changed their life. We live in an age where so many things just seem disposable, and people forget about things and move on really quickly. Dietland, whatever its legacy may be, it has had a long life.

Virginia

We should say, for folks who don’t know publishing: For a book to still be in print 10 years later is incredible. The vast majority of books have a year, two years, and then they’re done. It is a huge accomplishment, and a huge contribution.

Sarai

It means a lot to me. It’s getting a new French publication and a new translation over there. So, you know, my girl keeps on going. And it’s funny, because I think one of the things that people enjoyed about the book was the anger and the rage in it, and the revenge fantasy narrative about Jennifer.

At the same time, some people were like, oh, well, things aren’t that bad. You’re exaggerating. Fast forward from 2015 to 2025, and things are worse than I could have ever imagined back then.

Virginia

You downplayed it a little bit.

Sarai

Exactly. So I feel in this weird way, kind of vindicated? That’s not a great feeling. But it’s just so weird that the 10th anniversary is coming at a time when there’s this huge backlash against feminism, against fat. Even something as watered down as body positivity is under attack, you know? It just tells you how bad things are. So in that sense, it’s sort of bittersweet to have the anniversary at this time, because things are really just heartbreaking and scary right now.

Virginia

But also: We need the book more than ever. We need the Dietland story more than ever, because things are so scary right now. It gives us a way of articulating that. It gives us a place to put those feelings.

Sarai

I hope that new readers find the book now in this new climate that we’re in and people who read it before might revisit it. I’ve actually thought of writing some new Jennifer stories. I feel like they would have to be so, so violent and so filled with rage, I don’t know if they would be healthy for me, but I’ve thought about unleashing Jennifer on MAGA.

Virginia

I personally am very here for this and yery, very supportive of this idea. I think there would be an audience. I would really love to see Jennifer take on MAGA and MAHA and RFK Jr. in particular.

Sarai

If I end up in prison, though, I don’t know.

Virginia

I’m hearing that concern, as we’re saying it out loud. Fictionalized versions of these things, perhaps.

Sarai

Names changed.

Virginia

I mean, you’re busy, you’re doing lots of things, but it would be a public service.

Many more folks discovered Dietland after it became a TV show, which aired in 2018. It was created by Marti Noxon of Buffy the Vampire Slayer fame. And it starred the incredible Joy Nash. And we only got 10 magic episodes. It’s a really great season, but we only got the one season.

I would love to hear how you felt about the show? I’ve always wondered what that feels like, to have a novel go into on the screen. It’s got to be such a strange experience.

Sarai

It is strange and surreal. Looking back now, it’s hard to believe that it happened. I think so many writers do get their book optioned, but to actually have it not just optioned, but then go into production and become a television series is pretty rare. So I feel lucky that I had that.

The show premiered three years after the book was published, which is so fast, but that was kind of the golden age of TV, I think.

It was a great experience. Marti really welcomed me in. I went out to the writer’s room, and I worked as a consultant. I got to visit the set in New York. And basically the the 10 episodes that we got were the whole book. So, I’m really sad that it didn’t go on, that we didn’t get at least a season two, preferably five seasons would have been great. But AMC just kind of bailed out on it. There was a lot of drama there going on behind the scenes that had nothing to do with the show that contributed to that.

When the show was canceled, one of the cast members posted something on social media saying, “I’m so tired of shows about women that try and do interesting and groundbreaking things just being canceled and not given a chance to grow.” It’s very hard to build an audience in one ten episode season. So I just felt like the show wasn’t given that chance. And so that makes it a little bit bittersweet. But I treasure the ten episodes that we did get. It’s an incredible privilege that we got that.

Amd the show was pretty faithful to the book, actually, I thought. When I got there to the writer’s room, they were already at work and they were using it as their Bible and I was this kind of like goddess of this world. It was really weird.

Virginia

That’s amazing.

Sarai

All these people working on something that came from my head. It was surreal.

Virginia

And Joy as Plum—she’s amazing and really embodies the character.

Sarai

She is so great. I just love Joy. When I was living out in LA we used to go out to lunch, and she’s so fun and just so sweet. And, yeah, I really loved working with her, and having her play Plum.

Virginia

So you mentioned feeling like a goddess in the writers room. But putting this out there did launch you as a Public Facing Fat Person, which I put in capital letters. It’s an experience that that I’ve had, a little bit as well. And it is a real mixed bag. It’s just really a weird experience to be professionally fat, especially because, in your case, your subsequent work has had nothing to do with fatness. And yet, I’m sure this is still something that comes up.

Sarai

Yeah, I mean, you know what it’s like to be publicly fat. Everyone reacts to it differently. I’m a novelist, so I’m very introverted. The book was published in 2015 and then the paperback in 2016 and the British edition, which was a whole wild ride with the media over there.

Virginia

Oh god, I am sorry. I know and I’m sorry.

Sarai

Yeah. It made our media look okay!

Virginia

No, it’s terrible. The British media is so awful in general, and it’s so specifically fatphobic. Anytime I’ve done anything with the British media, it’s been a deeply scarring experience.

Sarai

It was awful. I had a big newspaper over there wanted me to write this big article for them, and they’re like, “You have to put your weight in the article.”

Virginia

I mean, what?

Sarai

And then another website, this feminist website, was like “We want pictures of you to use as stock photos for other articles on body positivity.”

Virginia

I’m sorry, can you not find other fat people??

Sarai

I’m the only one that exists. I don’t know if you know that, but I’m the only one.

And so, I had years of this. I was on NPR, talking about being fat. I was on MSNBC. I was on other radio shows. I mean, that’s the game, right? And at that time, “obesity epidemic” rhetoric was a really big thing. So my book had this hook, which isn’t common for novels, but I got all these interviews and so I had to go along with it, and go out there.

On the one hand, it’s really radical to be like, “Yeah, I’m fat,” and to speak about it in a neutral or positive way. It’s radical. It’s a taboo. And there aren’t a lot of taboos left. But it also just was hard to constantly have my body mentioned all the time. I remember Julianna Margulies, who was on the TV show, did an interview on a podcast talking about me and said something like, “Oh, Sarai’s a big girl.” Which is fine. I mean, that’s the thing, that’s what I wrote about. And that’s what it was like, actors, radio hosts, journalists, all referring to me as big or fat. And I’m not blaming them at all, but it was just the effect it had on me over time, was like, I started to kind of feel like a fat lady in like a circus or something. But I was reduced to the it was always about my body

Virginia

And you’re like, “I’m actually a writer. I have this whole incredible ability to invent a world. Not many people can do that. Could we maybe talk about that?” Just a thought.

Sarai

It was really hard for me. I thought I would love being in the spotlight, and it was harder than I thought it would be.

Virginia

I appreciate you saying that. I think it is really hard. I’ve had a smaller experience with it, and that was enough. I don’t want more than I’ve had.

I have a friend who says, “You don’t really know how you feel about a book until three years after the book came out. You need that time to survive.” The whole experience of launching a book—especially if a book does well—is like you’re basically disassociating a lot of the time to get through all the interviews and the press and the backlash and the trolls and whatever it creates. And then your nervous system needs time to slowly absorb what you just experienced. For me, one piece of it is like, okay, that was enough. I don’t need more scrutiny on my body or my life. We don’t owe the world that. And there’s a weird expectation that because you made a thing or wrote a thing that people are connecting with, you somehow owe them more of yourself.

Sarai

And it’s like you’re saying, if you kind of step back, it’s like, am I disappointing people? And I don’t want to do that.

Virginia

But I’m still a person with a life and my own needs.

Sarai

I’ve always been fat. When I was a kid and growing up as a young adult, I was deeply ashamed of being fat. And I had the kind of the experience of Plum in Dietland, where I eventually experienced liberation about my body. But that trauma doesn’t go away. So having everybody talk about me being fat all the time, it kind of triggers off things that you thought you had dealt with, or were at peace with. Then all of a sudden, it’s like picking in a scab all the time.

Even in the writers room for Dietland, I was the only fat woman in there. So that was my role. I’m the fat person. I have to tell you what it’s like to be fat. And it was just always focusing on that.

And that’s what happens when you put out a book about that subject. I’m not really complaining about it. It was just harder than I thought it would be and it took a toll on me.

Virginia

It’s a weird experience, and it’s weird that it’s a necessary part of getting this conversation into the mainstream.

When Fat Talk came out, Aubrey Gordon texted me and was like, “I’m checking in to see how you’re doing, because the book’s doing well” Because, obviously, she’s had lots of experience as a public fat person. And she was like, “Thanks for taking your turn in the trenches.” And that is kind of how it feels. In order to keep this conversation going around fat liberation and body liberation, we do need to keep putting this work out there. Somebody has to go to the front of the line and take all the hits for a while.

And you did it at a time when not many people were getting a big stage to do that. And without a network of other people who had done it, maybe. So thank you.

Sarai

Oh, well, you’re welcome. And thank you for everything you do. Because I remember after your New York Times interview, I DMed you. I was like, “Are you okay?” Because I know what it’s like to write something and the New York Times people go nuts when it’s about fat. I’m like, are you all right? Because we have to look out for each other, you know?

Virginia

I really appreciated it when you did that. It wasn’t the most fun experience in my life.

When we were talking about doing this episode, you were also saying how, as a writer you have gone on to write things that don’t have anything to do with fatness. It’s not like being a journalist on a beat. So I’m sure that’s also challenging, that you’re like, this can’t always be the most interesting thing about me. That’s not fair.

Sarai

Yeah. I mean, my second novel, The Cherry Robbers—

Virginia

Which I loved!

Sarai

Oh, thank you. That was historical. The novel took place mostly in the 1950s. I wanted something totally different. I didn’t want to be in the contemporary culture. When the book came out, it got a glowing review in The New York Times, and great reviews, but people just weren’t interested in talking to me anymore.

I mean, part of that’s is the publishing world thing, where your debut is like a debutante ball, and everybody wants to talk to you. And then once it’s your second or third book, it’s like, oh, yeah, we moved on from you.

Sorry, I sound really jaded right now! But without that kind of a newsy hook, people just weren’t interested really in talking to me anymore about the book. I think you could be tempted to say, “Okay, well, I’m going to write another book about fatness so I can get back in the media attention.” But no.

As you say, other people have stepped up in their writing about it, and they’re doing the work on it now. I had my time, I had my voice. I’m not saying I’ll never write about being fat again. I’m sure I’ll write an essay or who knows what, but I am just doing other things now. I’ve tried to carve out my space as a writer who is fat and who writes about all different kinds of things.

Virginia

No one needs a thin writer to keep writing about thinness. No one needs a male writer to keep writing about the experience of being a man.

It’s only when you have some kind of marginalization that people then expect that to be everything you write and think about. As opposed to saying, this is a person who writes and thinks about lots of different things. And happens to be this identity, and cares a lot about that identity and has thoughts about it. But every piece of work doesn’t need to be defined by that.

Sarai

Yeah. I mean, I live as a fat person. That’s my reality. I’m not running away from it. It is who I am. It’s inextricably linked to who I am. But I as a as a writer, as a person, I get bored easily. I want new challenges. I want to write new types of stories.

In my next novel, the narrator is fat. But I only mention it once in the novel, so it’s sort of like playing around with, yeah, this character is fat, but that’s not really that relevant to the story that I’m telling. It’s there, and it kind of comes up in other ways, but it’s not the whole story. So kind of an evolution, I guess, too, of how I’m writing about fat, at least in fiction.

Virginia

That’s where we need to get with representation—where every story about a fat character should not be just about their experience of fatness. That’s so reductive. We need more characters that happen to be fat, that are doing other things.

Sarai

Yeah, I think that that’s the ultimate goal. I don’t think we’re there yet in any kind of medium. But, yeah, that would be the dream.

Virginia

We’re working towards it.

You were also saying that you feel like just a very different kind of writer now than when you wrote Dietland, which is a book with so much anger and fire in it. It’s a gauntlet thrown. You described yourself as feeling “less fiery and more muted now,” but I also wonder if this is just being older and wiser and maybe a little more jaded— but also clearer about which mountains you’re willing to die on now.

Sarai

I wrote Dietland in my 30s. But it was published when I was 42 because it took forever to find an agent. Then when we sold it, it took forever to come out. Publishing is quite slow. But that was the novel of my 30s. And I look back now at this anniversary, and I was so fired up. I was so passionate. I was bold and fierce and brave.

Some of the things I wrote, I don’t know if I would write now, if I’d be brave enough. So I look at that person who wrote Dietland, and I’m not exactly that person anymore. And it’s something that’s been bothering me for a while.

And recently, I listened to an interview with Zadie Smith on the NPR Wildcard podcast. She and I are about the same age, 50-ish, going through all the hormonal changes of this time of life. And she was talking about her earlier books and how she thinks about herself when she was younger versus how she is now. She was talking about how now, at midlife, she feels kind of quieter inside. Her big personality has sort of retracted a little bit. And when I heard her say that, I just was blown away, because that’s what I’ve been experiencing too. And I haven’t really heard a lot of other people talking about it, and I hadn’t really put it into words or myself. I think because it was upsetting to feel a bit more low key, a bit more apathetic.

I’m not really an apathetic person. I’ve never thought of myself that way. But I kind of feel that way now, so it’s a weird time in my life. And I’ve had women who are older say it gets better. Like, just wait, ride this out, and you’re going to come out on the other side of this older and wiser and happier. But right now, I’m just kind of in this weird space where I just feel different. I’m a different person in some ways. I have the same values, but I’m a different kind of a writer, different kind of a person. I’m settling. That’s where I am right now. I’m kind of in the thick of it.

Virginia

I think we don’t often hear this nuance from people after they do something that has the kind of impact and success that Dietland has. We often think, well that person just continues to soar and it’s all the next peak and the next peak. And that’s not every experience. Probably that’s not most people’s experiences after having a big success. It’s okay that there are valleys and different paths and different twists and turns to it.

My other thought is: How could you not be feeling that way right now, given what the world is? Given what it means to be a woman right now? And everything that we’re up against. I think there’s a some universal—maybe it’s apathy, maybe it’s… I don’t know what it is, exactly. But this feels deeply relatable to me on a lot of levels.

Sarai

I think going through midlife and perimenopause, at a time when the whole world seems to be a disaster makes it a lot worse. Everybody is coming off the pandemic and Roe v Wade being overturned, and now Trump in office again. Our baseline is just really bad, you know? It’s just kind of everything piled on at once.

But it is true, I talked to some other women I know my age, who who’ve written novels in the past and have success and then can’t get published anymore once they get into their 50s. You expect you’re going to go on forever like you do at the beginning. And you have to deal with the publishing industry. It’s a corporate industry. And there are lots of things at play that have nothing to do with whether books are good or not, or whether readers want certain books, or whatever.

You start out having these expectations about how your career will go, and then you don’t realize that it’s, it’s always a struggle. Unless you’re some massive superstar writer who could have their grocery list published. But for the rest of us, it’s a struggle that just kind of peaks and valleys, and that has been a kind of wake up call ten years into being a novelist, for sure.

Virginia

The industry is so complicated. I think the ageism is very real in our industry. I mean, and everywhere. I just turned 44 so I’m kind of getting into this zone that you’re talking about. Perimenopause is definitely with me. It has begun. And I think a lot there is an invisibility that’s starting to kick in, compared to what I experienced as a woman in my 20s or 30s being out in the world. I can, sort of slip by unnoticed a little more sometimes. And sometimes I really like that, and sometimes it makes me angry. Kind of depends on the day. And I don’t even just mean male attention. I just mean the way people interact with you. I’m starting to notice some of those shifts.

Sarai

I think that’s one of the things that’s so strange about this time of life. There are a lot more adults who are younger than you all of a sudden. So all of a sudden, you’ve got 20 or 30 years worth of adults that are younger than you that start to see you as not important anymore.

Virginia

My kids like to remind me that Taylor Swift is 35. as if that’s an entire different generation from me. That’s not that much younger, guys! Okay, anyway.

Sarai

I mean, yeah, 35, she’s getting up there. But it’s kind of like you don’t matter as much anymore, in a way. Like that’s what society wants you to believe. That you’re kind of fading. I think that’s one of the things that you kind of have to push back against.

And, you know, I’m Gen X.

Virginia

I’m elder millennial, but I’m one year off of Gen X or something.

Sarai

I do think Gen X, despite all of our problems and flaws, are writing more about menopause and perimenopause and aging. And your generation will pick up that mantle and do even more with it. So I feel like, we’re trying to change things at least and make it so that we’re not fading away. I’m in my 50s now. I’m not going anywhere. And I’m still going to write. You’re not going to silence me. It’s kind of like just insisting that we’re still here, we still have a voice. But, yeah, it’s hard.

Virginia

It’s hard, and when you’re feeling that kind of personal, muted thing you were talking about and then it’s getting reinforced by the cultural perceptions of being a midlife woman. Then it’s like, am I going to summon up all the energy I need to push back against that? Or am I going to take some of that as, like, it’s a little bit liberating. I don’t have to be the young, shiny superstar reaching for the brass ring right now. It’s kind of a mixed thing, I think.

Sarai

With Dietland, I was idealistic and passionate and fiery. And I’m different now, but I’m not putting as much pressure on myself either. I’m not saying everything I write, I have to change the world. That’s what I wanted before. And now I’m older, and I realize you’re not really going to change the world. You might change a few people, and that’s great. But one novel is not going to change the world. And I don’t need to aim for that anymore.

I want to write different things. I want to not put that kind of pressure on myself. So yeah, there’s a kind of liberating part to it as well. I think when I’m not so taking myself as seriously and putting so much pressure on myself, I kind of loosened up a little bit. So that’s kind of the flip side of the more negative stuff I was talking about a minute ago.

Virginia

I appreciate how honest you’re being about the struggle, because I just think it is deeply relatable. And then to this end of what you’re working on now, we want to hear all about the next book. You have an announcement for us?

Sarai

Yes, so last year, I sold my third novel. But we didn’t want to announce it till I had all the edits done and we had the manuscript ready to go.

So summer 2026, my third novel is going to be published. It’s called Furious Violet, and it’s a suspense novel, which is something I always wanted to do. Like a detective story.

It’s different from what I’ve written, but I do think there’s a little bit of the spirit of Dietland in it, just in the voice, maybe. I guess, because The Cherry Robbers was in the 50s mostly, whereas I’m back and writing about contemporary culture.

So I’m really excited about it. I’ve always wanted to write a book like this, and it’s the most fun I’ve ever had writing a novel.

Virginia

I love that.

Sarai

My main character, is 49 almost 50, going through perimenopause. I got to write about that experience in a sort of darkly comedic way, which is a medium that I really like, like that dark comedy that Dietland had. She’s a true crime writer. She’s writing a book about a serial killer, but she’s also the daughter of this very famous poet who is deceased, but like a giant of American poetry. This woman who has this cult following, and sort of is always a shadow over my my character’s life.

So she has that, but she’s a true crime writer, and she kind of embraces her mediocrity. She’s not a genius like her mom. She’s just a true crime writer. And when the book begins, somebody starts stalking her and telling her, “You’re my mother.” And she doesn’t understand what’s going on, because she doesn’t have kids. And so it’s this mystery about what does this mean, who is this person, and what do they mean? And it’s all entangling all of that and all of the other aspects of her life, and how they all intersect.

Virginia

I can’t wait to read it. I’m riveted just hearing you talk about it.

Sarai

I had so much fun working on it. It was a wild ride. So thank you. I’m excited.

Virginia

I hope you’ll come back next summer when it comes out and talk to us about it some more. And I just have to say, I am filled with so much admiration for how you’ve evolved as a writer and how you like are going in. This book feels so different from Cherry Robbers feels so different from Dietland.

Sarai

Thank you. I don’t like to get bored. I want to do new things.

Sarai

I think publishing kind of wants to put you in a box, and I don’t want to be in that box. I wanted to do something different.

Virginia

It’s awesome. I can’t wait to read it. I’m so excited.

Sarai

Oh, thanks, thank you.

Butter

Virginia

Sarai, do you have any Butter for us right now?

Sarai

I just came off months and months of edits, and when I’m doing that, I can’t read. I can’t read other people’s stuff. So I don’t have any book recommendations. But I’m really excited to start reading again. But I was listening to a lot of music. I often listen to music while I’m writing, but it can’t have lyrics, has to be instrumental.

I discovered this Canadian classical violinist named Angèle Dubeau. She plays the work of a lot of contemporary composers. And I don’t know a lot about classical music. I’m not plugged into the contemporary classical music scene. But through her, I’ve discovered all these different composers. And she has one piece in particular called Experience. So if you’re on Spotify or Apple Music or wherever, I would recommend looking this up. This piece I just absolutely love it. It’s so beautiful, and I listen to it so many times. As I was editing, and then I keep listening to her work, and I don’t know it just meant a lot to me during this time. So yeah, it was really exciting to discover that.

Virginia

That’s incredible. It’s so fun to discover an artist and realize there’s more and more of their work, and you can go down the rabbit hole of everything they’ve done. I find that so satisfying.

Sarai

She’s introduced me to so many different composers, and I really love it.

Virginia

That’s so cool. I’ll do a music rec as well, although it’s not nearly as sophisticated as that. But my seven year old and I are currently on a big kick with the Hamilton soundtrack. Obviously Hamilton, the musical, had its moment a minute ago. Like, it’s been around for a while. But it stands the test of time, and it’s very fun to listen to with kids. I end up having to answer a lot of strange questions, because for a seven year old, it’s just a lot of things that she doesn’t know, that she needs translated. So we have some very funny conversations. It’s still a banger of a show and really great and fun to listen to a kid. It’s our little bedtime ritual. Before we read, she’s a kid who needs to really get her energy out. And we have a swing that she likes to swing on, and we play the Hamilton soundtrack and do three or four songs, and it’s just like a fun end of day ritual that I’m really enjoying right now.

Sarai

I love that. I’m still listening to the Xanadu soundtrack or something for my childhood.

Virginia

These things, they’re classics for a reason.

Obviously, we want everyone to go pick up a 10th anniversary copy of Dietland!

Get it if you haven’t read it, or if you read it and loved it, but you’ve lost your original copy, you probably need another one. It’s a great gift for someone else, some friend, mom, sister, whoever.

Tell folks anything else about where we can find you, how we can support your work.

Sarai

So I have a website, and, you know, I’m on Instagram, I’m on Blue Sky, and I do have a Facebook page I don’t update very much. I do have a TikTok account that I don’t really know what to do with, but I’ve done a few videos. So I’m out there, pretty easy to find. My next novel coming out next summer, but that’s got a ways to go on that.

Virginia

Well, we will keep people posted about that for sure. Thank you so much for being here. I really appreciate it.

Sarai

Thanks. It was so much fun. So thank you, Virginia.

The Burnt Toast Podcast is produced and hosted by Virginia Sole-Smith (follow me on Instagram) and Corinne Fay, who runs @SellTradePlus, and Big Undies.

The Burnt Toast logo is by Deanna Lowe.

Our theme music is by Farideh.

Tommy Harron is our audio engineer.

Thanks for listening and for supporting anti-diet, body liberation journalism!

Before we start the show today…

Have you donated to the Me Little Me Virtual Food Pantry? No, it won’t prevent any of the MAHA shenanigans we’re about to discuss. But it will get low-income folks (many of whom are in eating disorder recovery) fed — and with the food of their choosing. Meaning yes, ultra processed foods that bring comfort and convenience, and yes to beloved cultural foods…and yes to trusting folks in need to know what they need.

We’re trying to raise $12,000 and add 50 recurring donors to their rosters by June 1. And we can only do that with your help! Thank you!

You are listening to Burnt Toast! Today, my guest is Jessica Wilson, MS, RD.

Jessica is a clinical dietitian and host of the podcast Making It Awkward. Her critiques of American food hysteria have been featured in The New York Times, Washington Post, and other outlets, and Jessica’s ultra processed food experiment received coverage in Time Magazine last fall. Jessica was last on the podcast to celebrate the release of her book, It’s Always Been Ours: Rewriting the Story of Black Women’s Bodies, which explores how marginalized bodies, especially black women’s bodies, are policed by society in ways that impact body autonomy and health.

Jessica is one of the most incisive thinkers I know about wellness and diet culture, as well as food policy and nutrition. So I asked her to come back on the podcast today just to help us make sense of what is happening right now in public health. We’re going to get into RFK. We’re going to get into MAHA, we’re going to get into processed foods. I know you will find this conversation both hilarious and helpful.

Today’s episode is free but if you value this conversation, please consider supporting our work with a paid subscription. Burnt Toast is 100% reader- and listener-supported. We literally can’t do this without you.

And don’t forget, you can take 10 percent off It’s Always Been Ours, or any book we talk about on the podcast, if you order it from the Burnt Toast Bookshop, along with a copy of Fat Talk! (This also applies if you’ve previously bought Fat Talk from them. Just use the code FATTALK at checkout.)

The Burnt Toast Podcast is produced and hosted by Virginia Sole-Smith (follow me on Instagram) and Corinne Fay, who runs @SellTradePlus, and Big Undies.

The Burnt Toast logo is by Deanna Lowe.

Our theme music is by Farideh.

Tommy Harron is our audio engineer.

Thanks for listening and for supporting anti-diet, body liberation journalism!

My dear friend (and our nation’s leading momfluencer scholar) Sara Petersen joined me for a very fun Substack Live yesterday to discuss: Momfluencer Brooke Raybould’s protein-packed postpartum journey! Why $700 calendars are not the systemic support moms need! Would we eat seven hardboiled eggs in one meal! And so much more.

Longtime Burnt Toasties will recall that …

Welcome to Indulgence Gospel After Dark. This month we are talking about… seasonal color analysis!

We’ll be getting into:

⭐️ The complicated legacy of Color Me Beautiful

⭐️ Is color analysis a little bit racist?

⭐️ Is color analysis…a diet?

⭐️ What colors can Virginia wear, and why are there so many shades of taupe?

To hear the whole thing, read the full transcript, and join us in the comments, you’ll need to join Extra Butter, our premium subscription tier.

Extra Butter costs just $99 per year. (Regular paid subscribers, the remaining value of your subscription will be deducted from that total!)

Extra Butter subscribers also get access to posts like:

Dating While Fat

What to do when you miss your smaller body

Is Kids Eat In Color anti-diet?

And did Virginia really get divorced over butter?

And Extra Butters also get DM access and other perks. Plus Extra Butter ensures that the Burnt Toast community can always stay an ad- and sponsor-free space—which is crucial for body liberation journalism. Join us here!

(Questions? Glitches? Email me all the details, and cc [email protected].)

PS. If Extra Butter isn’t the right tier for you, remember that you still get access behind almost every other paywall with a regular paid subscription.

The Burnt Toast Podcast is produced and hosted by Virginia Sole-Smith (follow me on Instagram) and Corinne Fay, who runs @SellTradePlus, and Big Undies—subscribe for 20% off!

The Burnt Toast logo is by Deanna Lowe.

Our theme music is by Farideh.

Tommy Harron is our audio engineer.

Thanks for listening and for supporting anti-diet, body liberation journalism!

ICYMI yesterday… Corinne Fay and I did our first-ever Substack Live! If you’re a casual Substack user, you may or may not have noticed these popping up more frequently. Yes, they work just like Instagram Lives. Yes, they are another way Substack is becoming social media and we can all have complicated feelings about that. Yes, it’s weird that writers now have to b…

You are listening to Burnt Toast! Today, my guest is Elizabeth Ayiku.

Elizabeth is a food justice organizer and founder of the Me Little Me Foundation, a nonprofit committed to advancing food equity and providing free, culturally competent support services for marginalized communities. Based in Los Angeles, Elizabeth works to dismantle the systemic barriers that affect mental health and wellbeing, emphasizing the importance of meeting basic needs first.

Elizabeth’s foundation draws its name from her debut feature film Me Little Me. The Me Little Me Foundation offers a free virtual food pantry for folks in need—with a focus on helping people with multiple marginalized identities, folks of color and folks in eating disorder recovery.

And Burnt Toast, we have a challenge for you!

We want to raise $6,000 to support the Me Little Me Foundation.

Burnt Toast will match every dollar we raise, up to another $6000, by June 1. You’re going to hear more from Elizabeth in this episode about why this work is so important. Please share this episode widely, and donate if you can!

Today’s episode is free but if you value this conversation, please consider supporting our work with a paid subscription. Burnt Toast is 100% reader- and listener-supported. We literally can’t do this without you.

Episode 192 Transcript

Elizabeth

So I was born in the prairies of Canada to a Caribbean mother and West African father. I’m currently Los Angeles based. And I’m a filmmaker, a food justice organizer and a nonprofit founder.

Virginia

That is a lot of very hard jobs that you have! You sound extremely busy.

Elizabeth

I am. It’s a lot.

Virginia

Well, we’ll start with the film, because that’s how we first got connected, when you were looking for sponsors for your really incredible film called Me Little Me. It came out in 2022, and it is available to stream on Amazon Prime and Apple TV.

You were working on this for quite a long time. It was a the labor of love project for sure.

Elizabeth

Oh my goodness, 100 percent. It’s based on my own lived experience. So, in 2009 I went to treatment for eating disorder recovery. I went to IOP—an intensive outpatient program—and I was also working full time while I did it.

Being in eating disorder treatment became this kind of double life, and this big secret I had to hide. Because life couldn’t stop, you know? And I guess that’s something that I just never saw portrayed in any mainstream media, film, TV. It was always the person checked into inpatient. They had unlimited resources.

Virginia

Thousands and thousands of dollars per day for treatment.

Elizabeth

And no mention of where this money was coming from. It was just this really nicely packaged perception of what recovery is. And I was just waiting and waiting to see something that had any semblance of what I’d gone through. And I just couldn’t wait anymore! One day, I was like, “Okay, they’re not doing it. I’m going to have to be the one to make it.” And that’s what I did.

Like you said, it was a labor of love. This is an indie film, 100 percent. We didn’t have a studio backing us or anything like that. I just literally went to as many organizations as I could, and was like, “Look, I’m trying to make this. Can we have some money?” And it took a long time.

We started shooting maybe the end of 2018 and 2019, before the pandemic. We started shooting principal photography, just getting the shots in. We ran out of money multiple times. There were so many challenges. So when I reached out to you, I was looking for finishing funds.

I took a shot and submitted to South by Southwest as my work in progress. That means the sound wasn’t done, the color wasn’t finalized. It was 2021, by this time. And I was like, “You know what? I’m just going to shoot my shot and say I did it.” I was 100 percent sure nothing was going to come of it. But just to say that I did it. So end of 2021 I submitted and January 2022 is when they told me we were accepted. Still, I have to remind myself—I’m like, Oh my gosh, that happened.

Virginia

Yeah, you did it! You did the thing.

Elizabeth

I did the thing! And then there were a whole bunch of other expenses that came with that. They needed a digital cinema package as a way to show the movie professionally, which was like a minimum $1500+. Plus, it still wasn’t finished. So I just needed someone to do a quick color and sound pass. Because, my God, I couldn’t just show the the work in progress. So we just did a quick, rough color and sound pass. And I had to hire someone to do that.

I was grasping at straws. So when I reached out to you, I was just like, “This is what’s happening. This is what the my need is. Any help would be so so appreciated,” and you were like, absolutely, let’s do this.

Virginia

The story really resonated with me. As a journalist who’s written about eating disorder recovery for two decades now, I’m very aware of that mainstream narrative that you were talking about and just how many people it doesn’t represent. There is this whole eating disorder industrial complex that’s built to sell a certain kind of recovery and center a certain thin, white girl narrative.

And it just perpetually frustrates me, because everybody I know, whether personally in my own life, or people I’ve interviewed for work who has gone through recovery, is like, “Yeah, it doesn’t look anything like that.”

Elizabeth

Nope. Not even a little bit.

Virginia

And we’re doing such a disservice to people! So the fact that you were going to tell this much more complex story, centering a Black woman—I was like, yes, thank you so much.

Elizabeth

What you described is what I was up against, just this, all of those things. Trying to sell that story to the public, and if that’s all people are offered, that’s that’s what they think the reality is.

Virginia

And then that just pushes recovery so much further out of reach for people who wouldn’t have access to that kind of treatment. Meaning the expensive inpatient treatment options, which also aren’t even necessarily the best treatment! It doesn’t work for everybody! Okay. We could have a whole other show about that.

Elizabeth

We really could.

Virginia

The point is, the film’s incredible. It’s out. I want everyone to go stream it now that they can.

And what we really want to talk about today is how working on that film then led you to launch the Me Little Me Foundation.

Elizabeth

While I was working on finishing the film, it was the middle of the pandemic. It was a hard time. The racial uprisings were happening all around us, and almost everyone I knew was traumatized by the world they were witnessing. And that combination — There was so much need, and people in my community and people I didn’t know, people online were like. “I need resources, I need assistance, but I don’t know where to turn.” It was too much to just ignore, you know?

So that the subject matter of the film, plus the world that was happening at the time—I just knew there needed to be something in place that was different than the current resources out there.

So I came up with the idea for a virtual food pantry where folks are approved up to a certain amount. They make a list of what they need. I shop for them online from a local grocery store that offers delivery, and the groceries are shipped to them for free.

So you don’t need to have a vehicle, you don’t need to live in the correct zip code to get to the food pantry—because that’s a thing. And you also get to choose how you want to nourish yourself, because that was important to me, too. Because there’s dignity in being able to choose.

Virginia

Yes, and not just being handed a bag of food like, “This is what you get.”

Elizabeth

Yeah. “Be grateful, now move along.”

So I wanted to help with the trauma, and the lack of resources. Cultural needs aren’t taken into account at any food pantry I’ve ever used. I’ve been to so many pantries in my life, and it’s a lot of white foods. Like, I don’t know how else to describe them.

And when you’re having mental health issues because of trauma, because of the world around us, for whatever reason, just because you’re struggling to make it, your cultural foods can be so comforting. They can just be so so comforting, and just what you need. And I just wanted to take that into consideration. So that’s why I set it up the way I did, where folks tell me what they need, and that’s what they get.

Virginia

There’s such dignity in that, and empowerment for people. I think about the power of choice all the time, even just at the level of feeding my own kids. The idea that I would know what someone else needs to eat on any given day seems wild? I don’t know what you’re hungry for! I don’t know what what you need right now. You know what you need right now. The fact that so many of our aid systems are not set up to honor that is a huge problem. So I love that you built that into into how you’re doing this.

You’re focusing on folks of color who need assistance, and you’re also focusing on folks in eating disorder recovery.

Elizabeth

Yeah, so basically folks who hold multiple marginalized identities are really who we serve the most. That’s just how it honestly just started happening because of the people I’m connected with onlin,e and the places I was advertising this pantry.

So many folks in recovery struggle with food security. Because the recovery models we were talking about earlier really emphasize “You need to always have food available.” You need to have snacks. So Recovery has been hard for them because that. Recovery has been hard for me because of that. I don’t always have a cupboard full of snacks and multiple choices even though that’s something in recovery that we’re told to do. I’m laughing because they say, “Just make sure you fill your pantry.” Like everyone has a pantry! They’re like, “fill your pantry with all the food you can.”

Virginia

First, we need to get a pantry.

Elizabeth

Number one.

Virginia

When does that get delivered?

Elizabeth

Exactly! So there are so many people in the recovery community telling us, “Oh my goodness, this is what I needed. Like, thank you so much. It’s impossible to keep myself nourished without this assistance, this has been amazing.”

Coming from that world, I couldn’t have asked for a better outcome. It’s beyond hard to recover in this world we’re living in without assistance. So maybe 65 percent of who we serve are actively in recovery or currently have an eating disorder.

And there is also a large population of folks with disabilities. People who are mobility impaired, or even young people and youth who don’t have a car to get somewhere. There are so many folks with multiple marginalized identities who rely on us. It’s beyond what I even thought.

Virginia

Are you focusing on a particular geographic area?

Elizabeth

Good question. It’s nationwide. Because it’s virtual—that’s another thing I wanted to not be a barrier. If you can apply online, if you have access to computer at work—I’m trying for accessibility purposes to have another way to apply as well, but as of now, you apply online, and you can be anywhere. As long as you live somewhere that has a local grocery store that delivers, then you can use our services.

Virginia

That’s really, really great.

So as you’re working in this food justice space… what you’re doing is meeting an immediate critical need. People need to eat today. People are working on their recovery, they need access to food. And the reason this need is so dire is because of many larger structural failings in our systems. So how do you think about like, “Okay, I’m trying to put out this immediate fire. But we need so much larger change as well.”

How do you kind of hold that together?

Elizabeth

Sometimes it does make me sad, because I’m like, “Oh, is this just a band aid for something systemic.” But I believe that what we’re doing can eventually be just the way folks are given the resources they need. It doesn’t need to be what we’ve always had. Why can’t you just pick? Why does it have to be food that might not be good anymore? Expiring, not fresh, food that’s offered? Why is that the only thing that we’re saying is acceptable?

So I’m really trying to get the word out that, hey, we’re doing something that’s working. And yes, it’s for folks who are facing food insecurity now but you know, all these organizations that have these elaborate setups where they’re pre-boxing things, you can do it a different way.

Virginia

So you’re creating a new model that hopefully other organizations will replicate.

Elizabeth

Absolutely.

Virginia

As your organization continues to grow, this is something you can scale up, because of the way you’ve designed it. You’re helping connect people to their local grocery store. This isn’t you needing to build some whole infrastructure of warehouses, right?

Elizabeth

Exactly. That’s eliminated. We don’t have to pay rents to store a bunch of boxed items. I don’t think people are looking at things like that with the current systems that are in place.

Virginia

And obviously, it would be amazing if programs like SNAP and welfare were providing more resources for folks. But given the current political climate, we’re going to be lucky to hold onto any social safety net we have left.

Elizabeth

Like, any. And that’s the same how I was saying earlier. Like, middle of pandemic, people were just so traumatized. People were just kind of numb. And like, “I don’t know what to do, I need food to eat, though.” I’m seeing it now again, like this year the same. I’m like, whoa. This is history repeating.

Virginia

I think people are feeling a lot of the same panic, embarrassment, and uncertainty about what’s happening next. Everything is feeling extremely unstable.

Elizabeth

Absolutely.

Virginia

So making sure people have a way to feed themselves today—it’s something we can do. There is all this bigger change that needs to happen, and we can contribute to that however we can. But this kind of direct aid to people getting fed today is something that we can do, and really is crucial right now. We can’t do the rest if people aren’t eating. This is the starting point.

I mean, I’ve worked on pieces about childhood hunger over the years, and I know you’re focusing more on adults, but it blows my mind how often organizations that work on hunger have to show research to convince people that kids can’t learn if they’re hungry. And it’s just like, why did we need to have to do a study? Why did you need data?

Elizabeth

Yes, they need to see the numbers. It’s fascinating to me. When I tell folks stuff based on my lived experience of going to pantries, not having enough, or not having access in the area. They’re like, “Oh, okay, we just need you to type that all up, and we need to see where you got that data.” And I’m just like…where I got that data? From my life! And so many people I know! That blows my mind, the amount of data folks are requesting when it comes to food insecurity.

Virginia

We shouldn’t have to explain it or justify it. It should just be obvious that people need enough food to eat. That’s the baseline.

So Burnt Toast, we have a mission!

Our goal is to raise $6,000 by June 1 for the Me Little Me Foundation to support the virtual free food pantry project.

When we reach that $6,000 goal, Burnt Toast (the newsletter and podcast) will match that with another $6,000. So we have a chance to raise $12,000 for Me Little Me to help them make a big push on this work.

Elizabeth, tell us a little bit about what those funds will mean for your organization. What are we going to help you do? And then, of course, what do folks need to do to donate?

Elizabeth

Oh, my goodness. It would just help us so immensely. Just to break it down:

$100 worth of groceries means folks can make a minimum of 20 home cooked meals. So if we raise $6,000 that’s literally 1200 home cooked meals that we could provide.

Virginia

That’s awesome.

Elizabeth

It would help us so much, because we always have more applications than the resources. It’s crushing. Applications will be open for 24 hours and we have to shut them down because we’re just so overwhelmed. And say, “I’m so sorry. Please try back next quarter.” I’m trying to raise more money. I’m not going to let you all down.

So it would help us immensely. I’m trying to play it cool. This is my cool and collected voice, but I’m sort of squealing inside.

Virginia

Well, I think what you’re doing is so important. And we have over 65,000 people on the Burnt Toast list! This is not a big ask for anyone. A few bucks will cover one of these meals that we’re trying to raise money for. If you have 100 bucks, great! That’s 20 meals you’ve covered.

This is the kind of community effort that is giving me hope right now, that’s making me feel like the entire world’s not falling off a cliff. We can get this done. And I think actually, we can exceed this goal.

The second piece of our challenge is: If you’re able, please become a monthly donor!

Whether that’s $5 a month or $100 a month—which would buy 20 meals a month! Do it!

We are setting a goal to add 25 new recurring donors to the Me Little Me rosters. Burnt Toast is already a recurring donor, but we want 25 of you to sign up to be a recurring donors, too. So take whatever gift you were going to give and divide it by 12; break it up monthly and donate that. Because recurring donations are really critical to organizations like this. Elizabeth, you can speak a little bit to why that matters so much.

Elizabeth

Because the need is ongoing. We’re inundated every time we open the pantry, and the recurring donations will help us reach our ultimate goal of being able to see real systemic change and have this just be something that’s in place. So of course, yes, please if you’re able to just give a few dollars we would love that. But if you can support us on a monthly basis in any capacity, it’ll just be such a big weight off of the shoulders of so many folks who rely on these services.

Virginia

Recurring donations help nonprofits plan. It’s money they can rely on and actually look ahead and not just be scrambling.

Elizabeth

Scramble—that’s the perfect word. I get a little stressed every time we open the pantry.

Virginia

Well, I am really excited. I really appreciate you reaching out and giving us this opportunity to support what you’re doing. I think it’s so meaningful and so important. And, Burnt Toast, let’s get it done.

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Butter

Elizabeth

Something I discovered, I think by accident, is painting on burlap—like the material that they make sacks out of. It’s so random. They sell it at craft stores. And there was just some on sale. So I have just regular paints at home from ages ago that I just didn’t want to throw away. And, yeah, I just started. I stuck some burlap on a piece of wood, and just started painting it. And it just was so soothing. Just the surface of it, the texture, just painting over the burlap. And I was like, oh my gosh. Do people know about this?

Virginia

I did not! This is amazing.

Elizabeth

So not painting on canvas, but on burlap material. Even if you make a mistake, it still looks nice.

Virginia

What kind of paint are you using?

Elizabeth

It was literally paint that you would get at a hardware store, like if you were painting a wall in your house. They have specific fabric paint—because I’m going down a rabbit hole with it now—but that works just fine. Like, if you go to a hardware store and get a sample size, that’s what I had. I had a bunch of little samples. so I just started painting words on the burlap and making little gift things. And it was just so soothing. So that’s just a really random activity.

Virginia

That’s a great Butter. Thank you. I’ve been noticing a little trend with guests lately, where a lot of the Butters are people are really drawn to something that gets them off their phone, off the computer, kind of like an absorbing project. Absorbing projects have been a trend in butters, and I am a big fan. I’m a big jigsaw puzzle person and gardener. Like these tactile things that get us out of our heads a little bit are just great.

Elizabeth

Oh, wonderful. Oh, I’m so glad to hear that.

Virginia

My Butter is going to be somewhat related, and it’s a repeat Butter. I’ve recommended it before, but we have this great bird feeder. It’s called the Bird Buddy, and it has a camera in it, so it takes pictures of the birds for you and sends them to your phone. It’s not cheap, but they do go on sale from time to time. I will link to it.

But anyway, we moved the feeders to a new part of the garden, and we hung up our hummingbird feeder and another type of feeder—and just all of the birds that are coming now are making me so happy.

Elizabeth

I can imagine!

Virginia

I’m That Mom now. I’m like, “Guys, there are more goldfinches! Have you seen the goldfinches??” And one of my kids loves birds, and one of them doesn’t care. So I’m being a little excessive, and they’re like, okay, yes, we see.

But I think it’s the same thing of — I’m needing beauty that’s not in the Internet. That’s taking me away. And they’re so soothing to watch. So bird feeders, specifically, the camera one is really fun, but bird feeders in general, is my Butter today.

Elizabeth

Oh, now I want to see the photos of the birds.

Virginia

Oh, I’ll send you some. It’s pretty exciting.

Elizabeth, thank you so much. Let’s just remind everyone again, how to support you, how to donate to Me Little Me.

Elizabeth

You can go to MeLittleMeFoundation.org and there’s a donate page where you can make a one time donation or become a recurring donor.

You can get updates on our Instagram.

You can also get updates about my film at Me Little Me Film on Instagram.

The Burnt Toast Podcast is produced and hosted by Virginia Sole-Smith (follow me on Instagram) and Corinne Fay, who runs @SellTradePlus, and Big Undies.

The Burnt Toast logo is by Deanna Lowe.

Our theme music is by Farideh.

Tommy Harron is our audio engineer.

Thanks for listening and for supporting anti-diet, body liberation journalism!

You’re listening to Burnt Toast!

We are Virginia Sole-Smith and Corinne Fay, and it’s time for your May Indulgence Gospel!

Today, fan favorite Brianna Campos joins us again to talk more about… fat dating and sex!

We’re answering your questions, like:

⭐️ How do you navigate certain positions in bigger bodies?

⭐️ How do you talk to new partners about what your body needs?

⭐️ Are “oral sex skills” a myth?

⭐️ And…who is Virginia dating now?

To hear the full story, you’ll need to be a paid Burnt Toast subscriber. Subscriptions are $7 per month or $70 for the year.

If you’re already a paid subscriber, you can add on a subscription to Big Undies, Corinne’s newsletter about clothes, for 20% off.

You can always listen to our episodes right here in your email, where you’ll also receive full transcripts (edited and condensed for clarity). But please also follow us in Apple Podcasts, Spotify, Stitcher, and/or Pocket Casts!

This transcript contains affiliate links. Shopping our links is a great way to support Burnt Toast!

Episode 191 Transcript

Virginia

Okay, for anyone who missed her last visit: Bri is a licensed professional counselor and body image coach who works with folks recovering from eating disorders and finding body acceptance through grief. She joined me on the podcast back in February to talk about her work and her experiences dating in a superfat body, and you all loved that conversation so much.

We have asked Bri to join us again, this time to help Corinne and I answer your questions. So welcome Bri!

Bri

Thank you so much for having me back. What an honor.

Virginia

Well we have some very spicy questions to discuss today. I hope you’re feeling ready.

Bri

I’m so ready.

Corinne

In today’s episode, we’re going to talk very practically about the mechanics of fat sex. Some of the questions are pretty graphic, so you might not want to listen to this one with kids around. You may not even want to listen with friends around!

!!! And if you’re related to anyone who is on the podcast today, you may not want to listen to this episode!!!

Virginia

I would say, you are strongly encouraged to skip this one, actually.

Corinne

Moms, siblings.

Virginia

Dads, brothers, whatever. More content for you is coming. This one isn’t it.

Bri

We appreciate the support.

Corinne

Okay, here’s question number one:

My cis male partner and I (a cis female) have been together eight years. We have both gained belly weight in that time, and now missionary is tricky, especially if I need to use a hand to stimulate my clit. Plus, it’s harder for him to get as deep with bellies in the way. We’ve tried, him standing/me on the edge of the bed, him kneeling, and my hips up and other variations. I’ve been thinking about a wedge pillow, but that definitely takes the spontaneity out of it. Any tips?

Bri

I mean, I’ll dive right in.

You are listening to Burnt Toast!

Today, my guest is Jessica Slice, a disabled mom and author of the brilliant new book, Unfit Parent: A Disabled Mother Challenges an Inaccessible World.

Jessica is also the co-author of Dateable: Swiping Right, Hooking Up, and Settling Down While Chronically Ill and Disabled, and This Is How We Play: A Celebration of Disability and Adaptation, as well as the forthcoming This Is How We Talk and We Belong. She has been published in The New York Times, The Washington Post, Alice Wong’s bestselling Disability Visibility and more.

As Jessica puts it, she originally wrote this book for disabled parents because their stories are not told or centered. But Jessica soon realized she was writing a book for all parents, because becoming a parent is its own kind of experience with disability.

There are so many important intersections between disability, justice and fat liberation. One that I think about a lot is how both groups come up against the question: Don’t we owe it to our kids to be healthy? Jessica’s perspective on these issues is expansive, inclusive and enlightening. I know you will get so much out of this conversation and from reading unfit parent.

You can take 10 percent off Unfit Parent, or any book we talk about on the podcast, if you order it from the Burnt Toast Bookshop, along with a copy of Fat Talk! (This also applies if you’ve previously bought Fat Talk from them. Just use the code FATTALK at checkout.)

PS. If you enjoy today’s conversation, please tap the heart on this post — likes are one of the biggest drivers of traffic from Substack’s Notes, so that’s a super easy, free way to support the show!

Follow Jessica: Jessicaslice.com. I’m on Instagram @JessicaSlice, I have a Substack where I send monthly notes about Disabled Parenting, and then usually try to get people to read whatever poem I’m fixated on that month.

The Burnt Toast Podcast is produced and hosted by Virginia Sole-Smith (follow me on Instagram) and Corinne Fay, who runs @SellTradePlus, and Big Undies.

The Burnt Toast logo is by Deanna Lowe.

Our theme music is by Farideh.

Tommy Harron is our audio engineer.

Thanks for listening and for supporting anti-diet, body liberation journalism!

You’re listening to Burnt Toast!

We are Virginia Sole-Smith and Corinne Fay, and it’s time for your April Extra Butter.

Today we’re talking about plus size influencers getting weight loss surgery. We’ll get into:

⭐️ Is this the start of the Ozempic backlash?

⭐️ How much do public figures owe their audiences?

⭐️ How to hold space for body autonomy with weight loss journeys.

This is a complicated conversation! To hear the whole thing, read the full transcript, and join us in the comments, you’ll need to join Extra Butter, our premium subscription tier.

Subscriptions are $99 per year — but if you’re already a regular paid subscriber, you’ll only pay the difference.

In these monthly episodes, we get into the GOOD stuff like:

Is Mel Robbins a Diet?

Dating While Fat

What to do when you miss your smaller body

Is Kids Eat In Color anti-diet?

And did Virginia really get divorced over butter?

Extra Butters also get exclusive weekly chats, DM access, and a monthly bonus essay or thread. And Extra Butter ensures that the Burnt Toast community can always stay an ad- and sponsor-free space—which is crucial for body liberation journalism. Join us here!

(Questions? Glitches? Email Virginia all the details, and cc [email protected].)

PS. If Extra Butter isn’t the right tier for you, remember that you still get access behind almost every other paywall with a regular paid subscription.

If you’re already a paid subscriber, you can add on a subscription to Big Undies, Corinne’s newsletter about clothes, for 20% off.

PS. You can always listen to our episodes right here in your email, where you’ll also receive full transcripts (edited and condensed for clarity). But please also follow us in Apple Podcasts, Spotify, Stitcher, and/or Pocket Casts!

You are listening to Burnt Toast!

Today, my guest is the brilliant Jasmine Guillory.

Jasmine is a New York Times-bestselling author of nine novels, including The Wedding Date, The Proposal, and her brand new book Flirting Lessons.

This is an absolutely delightful conversation. Jasmine and I get into why she is publishing her first queer romance. We talk a lot about fat rep in romance novels, and we also talk about gardening. It’s so much fun!

You can order Flirting Lessons through the Burnt Toast Bookshop. Don’t forget, you can always take 10 percent off that purchase if you also order (or have already ordered!) Fat Talk from Split Rock Books! (Just use the code FATTALK at checkout.)

PS. If you enjoy today’s conversation, please tap the heart on this post — likes are one of the biggest drivers of traffic from Substack’s Notes, so that’s a super easy, free way to support the show!