Thomas Fink
Thomas Fink is the author of 11 books of poetry—most recently A Pageant for Every Addiction (Marsh Hawk P, 2020), written collaboratively with Maya D. Mason, Hedge Fund Certainty (Meritage P and i.e. P, 2019) and Selected Poems & Poetic Series (Marsh Hawk P, 2016)—as well as two books of criticism, and three edited anthologies. His work appeared in Best American Poetry 2007. His paintings hang in various collections. Fink is Professor of English at City University of New York-LaGuardia.
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GAMBLER’S VERTIGO I couldn’t help smiling at the lipstick smile on my wineglass. Watching the slimy lizards among the ruins of the old fort. Many of them were delicious in the role. Yes, there was a sort of refuge which always comes with the prostration of thought under an overpowering passion. They had their initials significantly embroidered on their underclothing. That vice went out of fashion long ago. There was no indication that human beings had ever dwelled there. A human nose appeared in the dark doorway. Several times he looked fixedly up at the ceiling from which he derived all his inspiration. Sends an imaginary object flying. His face is a blank picture of bewilderment which he never thought of disguising. Out of habit, if nothing else. A ceaseless tattoo on a darkly muffled drum. Beside the interminable talk of ailments. Having come to the conclusion that what he was doing was nonsense. A sorry ghost animated by someone else’s genius. I can feel the floor shake when he walks on it. He should really have a cane. And his whole face seemed smeared with oil like an iron lock. Blocking my view the whole way. How eager everything was to go wrong around one. He took the envelope out of his pocket. The zoning goes against little roadside businesses like mine. A rising sulfur reek of sewage. Where her hut had been, they found the hill covered with weeds and bramble. Is that the hook in his mouth? All 9 legs are shivery and goosepimpled. It’s just such seeming trifles that we’ve got to take seriously. Smiles full of decayed teeth. May I venture, honored sir, to engage you in polite conversation? He knew the gambler’s vertigo. A depth of moral isolation too remote for casual access. I was glad when my father took me to task for my muddy boots. The past offers no lesson which I am willing to heed. It serves to make the basement a friendlier place. The jackals must have taken it; curse them. She clutches her money to her breast. Nothing remained but her ability to gape. Now nature was subverted. The donkey is not ours. A swift current compels us to move farther up the beach. But what about regular plain folks who were born in those places and never left? The world outside their own direct experience was a region of vagueness and mystery. They stand in the marketplace with a basket of fish and curse everyone, whether customers or not. Each night I awake from dreams that I’m not even allowed to think about. They dashed into the dark shadow of the trees. The actual words remain unuttered—in the silence of the unconscious. The money was paid and her character established. She would rather be burned alive than humiliate anyone. We’re not lobbies or elevators. Cordial wishes for your prosperity. She held a powdered hand. Sit right down and thaw out. The animal in your pocket will soothe your fingers. The mystery and sunshine had congealed on my palms. People go into hiding when no one is looking for them. Why not risk one’s little point of view? You quite understand without requiring me to specify. I guessed simply from your eyes. Empty your pockets of the pretty coins that will soon buy you nothing. Nostalgia is fatiguing and destructive. Can any epitaph be adequate repartee? Has a dead man any use for money? His face about the color of blotting paper. Every story you would like to tell has already ended before you can open your mouth. You have lost your freckles and golden skin. The trap door. You left it open. Didn’t you?
Thomas Fink is the author of 11 books of poetry—most recently A Pageant for Every Addiction (Marsh Hawk P, 2020), written collaboratively with Maya D. Mason, Hedge Fund Certainty (Meritage P and i.e. P, 2019) and Selected Poems & Poetic Series (Marsh Hawk P, 2016)—as well as two books of criticism, and three edited anthologies. His work appeared in Best American Poetry 2007. His paintings hang in various collections. Fink is Professor of English at City University of New York-LaGuardia.
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