foxtales

Poems and Prose by Tim Fox

  • Illustrated Man

    “A man can be honest in any sort of skin.”
                        –Herman Melville, Moby-Dick, 1851

    I am an illustrated man.
    I got so many pictures that you can’t see me
    Guess I’m shrouded in
    Mystery
    Illustrated man.

    I got a dotted line
    Runs from my head to my heart
    I got a jagged line
    Tells you how to tear me apart
    Illustrated man.

    Oooooooooooooooooooo, Lord
    Illustrated man
    Oooooooooooooooooooo, help me
    I do the best I can

    There’s some stuff over here
    And some curly-cues
    This one says “Mother”
    But she may be lyin’ too
    Illustrated man.

    When I curl my arm
    This one here gives a wink
    When I clench my fist
    That means I got no time to think
    Illustrated man.

    Oooooooooooooooooooo, Lord
    Illustrated man
    Oooooooooooooooooooo, help me
    I do the best I can

    You’d better be careful
    When I come into view
    There’s just no telling
    What these pictures might do to you
    Illustrated man.

    Yeah, I’m just an illustrated man.
    I got so many pictures, but you can’t see me
    Guess I’m buried in
    History
    Illustrated man.

  • Maker Space

    I make things of words
    because I don’t know what to make of myself.
    I bend them and shape them,
    shove them here and there,
    soften the edges and shave off the extra,
    twist them and turn them,
    stitch them together with logic I learned in geometry class
    and grammar I learned in French class
    and shreds of nonsense I learned everywhere else,
    the same way that my dad and my uncles can take a block of wood
    and breathe it to life.

    Sometimes it feels lucky
    and sometimes it feels cursed.
    I always hear in my head (dad’s voice), “Leave well enough alone,”
    But I can’t–there is always more pecking to be done.
    Songs and poems are easier because I don’t have to think as much.
    They are like a shortcut to an emotional well inside me
    that most days stays tamped down, mostly–
    but in a poem, I don’t have to explain it
    and in a song, I don’t have to sing it, because–
    well, because I don’t sing, but also because–
    It just is . . . and yet, once it is out,
    the tinkering begins.

    I’m not obsessive about it,
    but I am possessive of it.
    I used to worry a lot about meter and rhyme
    but I don’t any more.
    I don’t have time, and I don’t think it matters, really,
    religious adherence to this form or that,
    but it used to matter to me a lot. I mean,
    I really worked at it, when I did it–but no more.
    Now I save that kind of thing for what I am paid to write,
    the articles and blogs and web pages and marketing stuff–
    and that’s OK. But still–
    the thing is,
    I make things of words
    because I don’t know what to make of myself.

  • Friday Feeling, Again

    I feel that Friday feeling
    again
    Time for staying out late and drinking beer and
    sleeping in
    Throw off the chains for one more day
    Trade in my cage for another day
    At least until Monday rolls around
    again


    Time to try out being someone else
    Time to drop by your house and
    stay too long
    Time to watch TV and hear my
    favorite song
    At least until they all come home
    again


    Saturday afternoon and the park is hot
    Looking everywhere for someone who’s not
    so alone
    Sunday comes in like a bad excuse
    Ran around all night long with, nothing to lose
    but you

    Yeah, it’s just that Friday freedom
    again
    Time for staying out late and drinking beer and
    sleeping in
    Throw off the chains for one more day
    Trade in my cage for another day
    At least until Monday rolls around
    again

  • Stretch Goals

    I’ll tie myself onto the rack
    And if you want, I’ll tie you, too
    Then we’ll stretch and stretch and stretch and stretch
    Until we snap in two

    Then my good half and your good half
    Can run away and play
    And we’ll just leave those other halves
    To stretch and stretch away

    A sliced up golf ball in the grass
    The morning dew in sun
    The water flowing under ice
    Before the day’s undone

    You’re late for school, the car is here
    The creek is on the rise
    You must have known me better then
    Through that gray disguise

    Better here than over there
    With the halves all left behind
    Better here than over there
    It was good then . . . never mind

  • Song for Today

    I want to take everything
    that makes me me
    And shove it all
    To the bottom of the sea
    I want to take whatever it is
    that makes me me
    Shove it down deep where no one can see


    I want to go
    Where the bad boys go
    I want to do
    What the bad boys do
    I want to wake up, early today,
    Look over at me, then look over at you


    I want to live
    In the Interzone
    I want to smash up my telephone
    I want to make
    The world go away
    I don’t want to hear what you have to say 


    I want to take everything
    that makes me me
    And shove it all
    To the bottom of the sea
    I want to take whatever it is
    that makes me me
    Shove it down deep where no one can see

  • Everyone Is Better than Me

    Everyone is better than me
    At least that’s how it seems
    They live in the black and white
    I live in in-betweens

    They can tell you right from wrong
    And where to nest your eggs
    I can tell you where run
    And where to hide your head

    The world comes crashing down on me
    Every other day
    And every other every time
    I just wait and see

    Everyone is better than me
    At least that’s how it seems
    They live in the black and white
    I live in in-betweens

  • The Pretenders

    I have half-assed many things in life, but hardly ever my writing.

    Writing is where my exhibitionistic tendencies and craven need for praise collided.

    So when my English 110 instructor, Shayne, announced on the first day of class that we had to write a journal–three entries a week about anything we wanted to write about–I was all in.

    This was in 1984, and English composition still had a hazy hangover of 1970s, born-to-late-to-be-a-hippie-but-really-want-to-be hanging over it–which was great. By the time I was an English comp teaching assistant in the early ’90s, it was steeped in literary theory. Roland Barthes and Jacques Lacan and Jacques Leotard had published their big books in the ’60s, but their structuralism and poststructuralism and deconstruction and Lacanianism and postmodernism had taken a while to filter down to actual writing classes; they were more concerned with writing about writing more than writing itself. Which was also great. But it was all new to me, and by mid semester I was just happy to get things turned in on time, let alone deconstructed.

    The freedom of mid-’80s English comp flowed over into in-class writing assignments and exercises, too, yielding more chances for me to show off and seek praise. One day we free-wrote in class to 1950s-era magazine advertisements as promps. I called mine “Man in a Grocery Store with a Lot of Bread.” It was a short story about a man hoarding 20 loaves of bread to be ready for nuclear attack. “But don’t you think you’ll get tired of all that bread before the nuclear winter?” a boy asks him. “That’s why I have this canteloupe,” he says, and then the sirens start going off. Another day, she asked us to bring in records with our favorite music. I brought in a Lou Reed song called “Leave Me Alone,” only to be upstaged by a young woman who brought in Cindy Lauper’s “She Bop” and delighted in telling us all what it was really about. And then there was the time she asked us to write about some favorite song lyrics.

    In true born-to-late-to-be-a-hippie-but-really-want-to-be fashion, I picked Jackson Browne’s song “The Pretender.” And in true overachieving English nerd fashion, I didn’t just write a few sentences about what it meant to me, but wrote an essay framed by a story–which may or may not have actually happened–of me sharing a copy of the lyrics I kept in my wallet with a friend at a party.

    I looked forward to my instructor’s gushing response to my deep analysis of Jackson Browne lyrics. Instead, she wrote, “Boy, Tim, we must be reading ‘The Pretender’ in 2 different ways! I’ve always thought those was pretty depressing stuff (at least the 2nd part).”

    Of course, it had been “the 2nd part” that I had praised as being the perfect distillation of my life to that point–girls, gathering material possessions (clothes, records, Polo cologne, and a pair of Bass Weejun penny loafers, mostly, bought by overworking myself at McDonald’s), and the future. It was kind of a distillation of my high school experience, in chronological order. As such, the “future” part was the least well-developed–I’d only started thinking of myself as having a future six months or so earlier–but it was key to the whole thing–and why I didn’t understand what my instructor found depressing about it:

    I dreamed of a future, a future far away from high school and all the phony friends I had there. In a way, my dream of the future was a combination of my previous fascinations, bundled together and place din front of me, rather than behind me. They became goals, reasons to go away for schools, reason to stop playing around and start studying, reasons to try to do something with my life. I was bored with the present, nauseated by the past, but fascinated by the future.

    Of course, with 36 years’ of hindsight, this is depressing in every way. Not only is the original lyric depressing–“I’m gonna be a happy idiot, and struggle for the legal tender, where the ads take aim, and lay their claim, to the heart and the soul of the spender”–but my interpretation is depressing, because the future I was “fascinated” with didn’t go far beyond material success, which I had no idea how to achieve, or how little that kind of success would come to mean to me beyond helping to provide for my family and keeping the creditors at bay another month.

    But at a higher level, my future was not one of being “The Pretender,” but “The Pretenders.” I pretended to be an editor. I pretended to be a historian. I pretended to be a journalist. I pretended to be a PR flak. I pretended to be a technical writer. And I have done well at all of these things by picking up scraps of information here and there, various writerly tricks and gimmicks, mashing them up, and writing with confidence about things I knew little to nothing about.

    When I listen to The Pretender now, it’s not the title track that gets me, but “Bright Baby Blues”:

    I've been up
    And down this highway
    Far as my eyes can see
    No matter how fast I run
    I can never seem
    To get away from me
    No matter where I am
    I can't help thinking
    I'm just a day away
    From where I want to be
  • The 4th of July and the Long Gaze Up into Darkness

    The 4th of July has always been my favorite holiday, because even more than Christmas—despite its four weeks of Advent and the presents slowly gathering under the tree and the immediate family opening theirs on the 23rd and the four-hour drive to Ellsworth, Kansas, on the 24th, and dinner and more presents and midnight mass that evening at one grandparents’ house and Santa gifts and more presents the next morning at the other grandparents’ house, which was more about envelopes with crisp $20 bills fresh from the bank with the serial numbers still in order so the five of us could match them up than about the opening of gifts per se, followed by a trip to Great Bend, Kansas, for more food and sitting around the fireplace in the basement until we thought we would catch fire before being put back in the car back to Ellsworth, where we would sleep before the morning-after gluttony hangover of quiet, satiated remorse—it was about the Big Wait.

    Until I was 11 or so, dad would buy a family pack of fireworks at the Boy Scout stand on the Belt Highway, just across the street from where we first lived in St. Joseph and from where the house Jesse James had been shot in stood as a tourist attraction. For days the plastic-wrapped, red-white-and-blue box from the fireworks stand would sit on the kitchen counter, and we would stare at the explosives inside, wrapped like colored candy. We lived for the words “DANGER-FLAMMABLE-DO NOT USE NEAR FACE” and all those exotic Chinese characters. Meanwhile, as we drooled over our family friendly fireworks, the Cawley boys and the Scott boys and the Webb boys had the fireworks we really wanted—the firecrackers and bottle rockets they would carelessly lob at each other, the cherry bombs that would trail red smoke as they found their way into the gutter in front of our house, and of course the legendary, elusive M-80, rumored to be essentially a quarter stick of dynamite that would take your fingers off if it exploded in your hand.

    The morning of the 4th we would finally crack the box open and take to the driveway with the daytime stuff—smoke bombs and snakes. We watched as the soot and burn marks stained the concrete, our parents watching nervously from the porch. The acrid colored smoke billowed and black foam “snakes” of ash curled menacingly up from the sidewalk.

    Then, the rest of the day was the Big Wait for the fireworks show on the Moila Temple’s golf course. The Moila Temple, which still exists, was a fraternal order, like the Freemasons—a living artefact of the mid-century habit business men had of organizing themselves into secret sects with mysterious rites and initiations and ceremonies and civic service. I didn’t understand that; I just knew they were fat old men in fezzes who drove around on little motor cycles during the annual Apple Blossom parade downtown, and on the 4th of July they had a fireworks show, and it was the night we lived for.

    The day itself, though, was endless after the early morning kiddie stuff, at least until the year dad finally gave in to our begging, skipped the family pack, and just got us a package of 1,000 firecrackers and two gross of bottle rockets. That kept us busy all day, blowing up beer cans and tin cans and piles of dirt and old toys. Still, between the puffs of smoke and temporary hearing loss and ringing ears and flashes of light, it seemed night would never come; then there was the parking forever away, and the long walk across the close-cut, dewy grass of the golf course, until we finally found a spot where we would put the blanket down and wait for the show.

    But there was never much of a show. A firework would go up, do its thing—spread out like a red spider against the sky, skitter off like a barrel of worms let loose in the darkness amid shrieks and whistles, or just throw out a single brilliant flash as we waited for the sound waves to catch up with the light waves with a gut-crunching boom—then we would wait for the next one. Sometimes, so much time would pass between fireworks that people would get up and start to leave, thinking the show was over, and then here would come another one. Sometimes we would see a flurry of flares on the ground where the fireworks were lit, and we would speculate that something had gone terribly, horribly wrong. Sometimes there would be lights of fire trucks, which would make us suspect even more that something had gone terribly, horribly wrong. Then, finally, there would be a pause that was longer than all the others, and people would start packing up their blankets and folding chairs and coolers and start walking back to their cars and the workday that lay ahead, and the show was over.

    I thought all fireworks shows were like that until July 4, 1985, the first summer I spent away from St. Joseph after vowing in the fall of 1984 to never return. I had found a full-time job between semesters at Menorah Medical Center, across Cherry Street from where I was going to school at the University of Missouri-Kansas City. One block further east, on the other side of the hospital complex, was Troost, Kansas City’s own Delmar divide. Troost was a semipermeable membrane, with separate organisms living on either side, each with its own set of mitochondria and DNA and RNA and Golgi apparatuses and all the rest of it—on one side, the university, the Nelson-Atkins Museum of Art, the Kansas City Art Institute, the Country Club Plaza, and on the other . . . well, I didn’t understand that.

    The job was in the hospital’s coffee shop. It was me, a white college kid; an older white guy who looked like he may have served time but was a very nice guy. He wore a chef’s hat and smock and helped me set up a sandwich cart every day, which we dutifully wheeled onto the patio and tended in the sun as we sold pre-made sandwiches to people who were passing by; a black kid, about my age, responsible for filling the vending machines throughout the hospital; another black kid, Brian, who was the dishwasher; two older black women, Josie and Mary, who were the cooks; Angela and Beverly, two black waitresses; and the manager, Robert, a white man who had gone to seminary school. He was replaced later in the summer by Ray, another white man, who I think had gone to business school. A Vietnamese waitress named Tam joined us later, too; she spoke a whispered, broken English and seemed embarrassed of her own existence. Josie and Mary, for their part, were completely focused on work, bustling intently around the kitchen as they talked to each other without words. Josie was always humming to herself, and the busier she got, the louder she hummed.

    One day the task of filling the vending machines fell to me, which gave me the chance to see the rest of the hospital. I didn’t understand the job, how to keep track of all the cans of soda and what went where and whatnot, but I did the best I could. The hospital was a microcosm of the city. I watched the doctors on their rounds, crowding into elevators with the patients and me with my metal cart full of cases of soda. Then there were the people in waiting rooms, consulting with the nurses, and the techs and the janitors and the candy stripers. Soon after, I wrote a poem called “I Am a Doctor,” which included the refrain, “I take the stairs / ’cause the elevator moves too slow.”

    The doctors seemed glamorous, as did the St. Louis kids who had traveled cross-state for the university’s six-year med program; the fast track to what I considered success. They loved to announce they were from “West County,” which meant nothing to me, but it meant everything to them. The nicely dressed and coiffed auxiliary women who hung out in the coffee shop impressed me, too, as they politely took their coffee from Angela or Beverly. And my friend Ann was glamorous, too. She drove a Pontiac Firebird, and I felt fancy tooling up and down the interstates with her late at night. Where I was from, a Firebird was class. She had white, almost translucent skin, and a cultivated air about her, and she sometimes said things that made me think, “Whuuuh?” But she was sweet to me and put up with my artsy inclinations, my weird music, and my general negativity, none of which was in her nature.

    The summer days continued their ascent to the 4th of July. The day before the holiday, Ann offered to take me to the Spirit Festival with some friends of hers. It was held on the grounds of the Liberty Memorial, a World War I memorial, just south of downtown Kansas City. She picked me up from the dorm in her Firebird and off we went.

    Earlier in the year I had read James Joyce’s short story “Araby.” I had related to the story’s narrator, growing up on a “blind” street with its empty house at the “blind end,” and I could understand his love for the neighborhood girl, always limned in light, her dress swinging, her hair a rope “tossed from side to side.” But most importantly, the story had introduced the idea of epiphany, the narrator’s sudden realization in the last line of the story that he is only “a creature driven and derided by vanity” as he fails to buy a bauble at Araby, an eastern bazaar, for his beloved. I had experienced an epiphany of my own once before, though I didn’t have the language to call it that then. Finding myself alone in my room after a school trip to Washington, D.C.—my first trip away from home except for trips to Ellsworth and family vacations—I had suddenly realized that I didn’t belong where I was.

    Spirit Festival was start of my second epiphany. I had never been in a crowd like that before—thousands of sweaty people packed together in varying levels of dress and undress. Beer, booze, pot, music, noise, nonsense. And the fireworks! Not the waiting and waiting for a single blast or whistle, but what seemed like 40 minutes of nonstop aural and visual assault. The air crackled with a feeling that anything could happen; it was how I imagined the legendary rock concerts that I was born too late for—Woodstock, Monterey, Altamont.

    Safely back in my dorm room at 12:06 a.m., I tried to capture it: “Bright lights big city a beautiful skyline 4th of July fucking beautiful 10,000 people jamming in the park fireworks & beer & pretty girls. . . . I wish I were stoned lights lights lights . . . I could smell the smoke smell the booze smell the girls smell the food thousands of people passing and moving it was fucking beautiful lights lights lights fireworks smoking dope cameras firecrackers shot off w/in earshot BOOM just like fucking Beirut. . . .” Then: “I felt special. I felt proud to be in this country. This is a great country. I thank God for being in it.”

    But the feeling was fleeting. Just as it always had been after the 4th, the rest of the summer was a long slog downhill toward the work of school and fall and cold and yuck. But this year, unlike when I was a kid, the growing awareness of the others around me—Angela and Beverly, Josie and Mary—made it clearer that the world I inhabited was only a world I had entered as a visitor. The coffee shop and partying on the 4th of July with Ann and her Firebird—it was all light years from their world. For me, it was a lark; for them, it was their life. The feeling took form in a phrase I wrote down in Prince-style shorthand: “EZ 4 US.” As in:

    EZ 4 US, then
    White college-bound kids
    To destroy other people’s property
    To fuck up our grades
    To work 40 hrs. A week
    (all for the love of money)
    To get drunk 4 times a week
    To lust after girls
    To blow off college
    To spout smart-ass philosophies
    (death is reality—my favorite)
    To spit in the face of all that was sacred
              (or scared)
    To hang out
    To bum out
    To burn out
    To sail to the depths of darkest depression & blame the church for it all
    To be white and (relatively) wealthy
    In a non-Orwellian 1984 . . .
    A lifetime ago.

    I had been a punk and an idiot; not as much of a punk or as big of an idiot as some (the line about “destroying property” was nothing I had ever done, but many people I knew had), but still a punk and an idiot. Furthermore, the vision of America and its possibilities I had felt at the Liberty Memorial on July 4, 1985, was a mirage, a trick. Those long minutes between blasts at the Moila Temple golf course reflected life for most people—long expectations of great things to come, only to be followed by disappointment, a momentary thrill, and then their own slog back to work. With the time between blasts collapsed and the sound waves and light waves colliding that night, the show was beautiful but not sustainable, and the people around me at Spirit Fest had really just been punks and idiots, too.

    On the other hand, wasn’t it a privileged assumption on my part, the idea that because I would go back to college and who knew what else, that I was better off–or better–than the people in the coffee shop? My life was definitely easier, I have no doubt about that, but as I think about Josie and Mary humming around the kitchen, I realize that I was only seeing a tiny part of their lives. And even if their lives outside the coffee shop were not fulfilling, it didn’t keep them from giving their all to the one part of their lives I saw–so who, really, was the disadvantaged one?

    But this last was an epiphany that would come much later. In the summer of 1985, it was all I could do to find my footing after discovering the possibility that I lived amid multiple realities being determined by a wider world beyond my 4th of July American dreams and all the things I did not understand.

  • Squirrels

    Things are dark, things have . . . gone to shit
    I’m just gonna sit here and . . . have a sit
    Sit and do nothing for the rest of the day
    Yeah, I’m just gonna watch these squirrels play

    Look at that one, running ’round that tree
    Look at his brother, sitting and looking at me
    I take my well-earned arguments and all I’ve got to say
    And I’m just gonna watch these crazy squirrels play

    They don’t go nowhere, but it sure looks like fun
    I’d kill anybody who took after ’em with a gun
    Don’t care about your car and your fine array
    ‘Cause all I gotta do is watch these squirrels play

    I hear the talk on the left and on the right
    I hear that shit go down every night
    To me it ain’t worth a thing, it’s just a waste of space
    About as productive as watching these fucking squirrels play

    Well at least they have fun, at least they’re digging life
    They don’t care about my toil and strife
    There’s a black one and a white one in the same damn tree
    If I stay a little longer, maybe they’ll play with me

    Squirrels Audio

  • Oh Bela!

    In 1984 I left my hometown to attend college in what was, to me at the time, the big city of Kansas City, Missouri. It was only an hour away, but the cultural distance was staggering—and exciting.

    I had only been significantly away from my hometown—excluding family vacations and holiday trips to central Kansas—once. Earlier that year I had gone to Washington, D.C., as part of a civics program called Presidential Classroom. How I was nominated to go is a mystery to me. I was kind of aimless academically by then—I certainly had no idea about government or politics—but the local Jaycees pitched in $50 and my indulgent and long-suffering (with me) parents kicked in the rest.

    When I got home, the only thing I knew was I never wanted to live in St. Joseph, Missouri, again, and after that the summer of ’84, I never did.

    In college, I started writing arts and entertainment stories for the school paper. One of my proudest moments was when I mentioned to my editor, who was a junior and therefore super cool, that I liked Lou Reed and the Velvet Underground. Like any journalist, he followed up with a question: “How does a kid from St. Joe know about the Velvet Underground?”

    The short answer was the Rolling Stone Record Guide, but the longer answer was that I had long enjoyed, and prided myself on, knowing about music that was diverse and beyond the mainstream. Yes, the summer of ’84 had been filled with Born in the USA, Purple Rain, and Heartbeat City like everyone else’s, but Tusk, Street Songs, Alive She Cried, And Howlin’ Wind were also in heavy in my rotation. Not import bin stuff, but more interesting than radio.

    That fall I also met a girl named Andrea, who was an art major and a Lou Reed fan, too—The Blue Mask was her jam. We were just friends, but we spent a lot of time together. One night she suggested we go to a midnight screening of The Hunger. I’d never heard of it but it sounded dangerous and cool and David Bowie was in it, so off we went.

    When “Bela Lugosi’s Dead” started playing, I about lost my mind. It was unlike anything I’d ever heard before. I loved it, so dark and mysterious and menacing. Andrea and I we listened to it a lot that fall, but it didn’t send me down a Goth rabbit hole.

    In fact, I didn’t get around to owning any Bauhaus until five years later when their collection Swings & Heartaches: The BBC Sessions came out. I had just started grad school, and additional two hours from homw, and this, plus cassettes of The Mind Is a Terrible Thing to Taste, Sly and the Family Stone’s Greatest Hits, Sade, Book of Days and a “hip-house” show, taped off the college radio station, were the soundtracks for those innocent days.

    Oh youth … when creepy tales of a dead monster movie star could bring new feelings scratching at the moldy lid of small-town conformity and conservatism … undead undead undead …