Skip to main content

A Packing List for Writers

Today, I wrote a friend for advice about packing. I’ll be going from Virginia to Nashville to New York City, after which I’ll be flying to Rome for three weeks. My friend mentioned that his wife takes up more than her share of their suitcase, because she believes men don’t need as many clothes. I wouldn’t consider sharing a suitcase with my husband. It’s disappointing enough to see your Jockey sports bra in another country—it looks so sad in hotel rooms abroad (bad pun!). How much sadder, then, to find it entangled amid chargers, extension cords, computer cords, unwound dental floss (how would I know how that happened? Big hello, though, to my dental hygienist), earphones, noise-canceling headphones, dangling cords, and bungee cords (you never can tell). I’d be hugely foiled trying to extract my underwear. Who wants to deal with a bunch of cords doing the kudzu around a bra when Caravaggio beckons?

Though it seems to be common knowledge, I just discovered that it’s best to roll everything. Ankle boots are all-purpose, and you can roll delicate stuff into them with your socks. It’s the packing version of making a jelly roll (okay, you wouldn’t plunge a jelly roll into your boot). When you remove the boots, empty them right away. Santa spoiler alert: the next morning you might find (rolled up) twenty dollars in the toe!

What to bring? There are already numerous articles about all-purpose wrinkle-free clothes you can layer (I’ve already made one cooking analogy, so I’ll avoid talking about being human phyllo dough), along with “versatile” scarves (that adjective won’t go away until scarves do), dangly earrings that conduct heat (patent pending), and lipstick that doubles as eye shadow. You can also line your eyes with a no. 2 pencil (kidding!) and wear your boot shoehorn as a bolo tie, improvised from one of your husband’s cords. My tips below are helpful primarily for writers, but absolutely anyone, cis-writered or not, might benefit:

  1. Take an external mouse and use it to kill big bugs! No hotel has a flyswatter. Have you ever once seen one?
  2. You know those scented, “personal” travel candles that are supposed to set the mood, calm your mind, and give you double points on your AmEx? Take one with you to the church in Rome so you don’t have to rationalize and/or feel bad if you can’t buy one. You’ll still want to symbolically light a candle to pray that more insight comes to you in the future about, say, packing. Or that you get money. Or, even though it’s technically too late, you’ll want to remember your dissertation advisor fondly. (He/she/they always liked symbolic gestures!)
  3. Leave the Kindle at home. Read galleys on the plane. If you “lose” them, the publisher will always send another.
  4. Leave the bra at home. See if anybody notices, underneath those layers. (No fair hunching your shoulders: that’s reserved for a late night at the computer. Use the scarf to bind your breasts those times you feel you absolutely must.)
  5. Don’t add weight by carrying a pen. Do you ever write in longhand, let alone on planes? If mere swiping won’t do it, sign with your finger. Raise that finger again for the flight attendant. A double Cognac? Just make sure it’s the right finger, as the employee serving business class will already dislike you. (“No underwear!” she’s thinking, “And she kept sniffing a little candle that was probably some drug she tongued the minute I turned away.”)
  6. No hairbrush. The “beachy” look is always in. Or use earphones to tie back your hair.
  7. As for the clothes: you’re a writer. People used to know what writers looked like, but no more. (Faulkner in that vest; Hemingway’s big belly inflating a guayabera shirt that might also serve as a flotation device; Susan Sontag, who understood the timelessness of boots, not only the timelessness of herself. You can look any way, because nobody will believe that you’re a writer. That’s because they, too, are writers who’ve settled on a look entirely different from yours. Perhaps they will not be so clever as to use their carry-on as a back pillow, or to use their Spanx as a head warmer, under all that germ-ridden air blowing down (when worn upside down, the leg openings above each ear provide the perfect opening through which to thread cords).

 

Ann Beattie’s short story “Ruckersville” appears in our Fall Issue. She is the author, most recently, of The Accomplished Guest. Read her Art of Fiction interview.



from The Paris Review http://ift.tt/2xDiZsV

Comments

Popular posts from this blog

The Sphere

Photograph by Elena Saavedra Buckley. Once when I was about twelve I was walking down the dead-end road in Albuquerque where I grew up, around twilight with a friend. Far beyond the end of the road was a mountain range, and at that time of evening it flattened into a matte indigo wash, like a mural. While kicking down the asphalt we saw a small bright light appear at the top of the peaks, near where we knew radio towers to occasionally emit flashes of red. But this glare, blinding and colorless, grew at an alarming rate. It looked like a single floodlight and then a tight swarm beginning to leak over the edge of the summit. My friend and I became frightened, and as the light poured from the crest, our murmurs turned into screams. We stood there, clutching our heads, screaming. I knew this was the thing that was going to come and get me. It was finally going to show me the horrifying wiring that lay just behind the visible universe and that was inside of me too. And then, a couple se

The Rejection Plot

Print from Trouble , by Bruce Charlesworth, a portfolio which appeared in The Paris Review in the magazine’s Fall 1985 issue. Rejection may be universal, but as plots go, it’s second-rate—all buildup and no closure, an inherent letdown. Stories are usually defined by progress: the development of events toward their conclusions, characters toward their fates, questions toward understanding, themes toward fulfillment. But unlike marriage, murder, and war, rejection offers no obstacles to surmount, milestones to mark, rituals to observe. If a plot point is a shift in a state of affairs—the meeting of a long-lost twin, the fateful red stain on a handkerchief—rejection offers none; what was true before is true after. Nothing happens, no one is materially harmed, and the rejected party loses nothing but the cherished prospect of something they never had to begin with. If the romance plot sets up an enticing question—Will they or won’t they? — the rejection plot spoils everything upfront:

On the Distinctiveness of Writing in China

Yan Lianke at the Salon du Livre, 2010. Photograph by Georges Seguin, via Wikimedia Commons . Licensed under CC BY-SA 3.0 DEED . When I talk to non-Chinese readers like yourselves, I often find that you are interested in hearing about what distinguishes me as an author but also what distinguishes my country—and particularly details that go beyond what you see on the television, read about in newspapers, and hear about from tourists. I know that China’s international reputation is like that of a young upstart from the countryside who has money but lacks culture, education, and knowledge. Of course, in addition to money, this young upstart also has things like despotism and injustice, while lacking democracy and freedom. The result is like a wild man who is loaded with gold bullion but wears shabby clothing, behaves rudely, stinks of bad breath, and never plays by the rules. If an author must write under the oversight of this sort of individual, how should that author evaluate, discu