The Thomas Salto takes its name from a difficult and dangerous move in gymnastics, a leaping triple flip popularized during the last years of the Cold War. Both in its Reagan-grained historicity, and in the human body that bears the leap’s flight and risk, the Thomas salto is a kinetic figure for these poems’ action in time and space. They shadow the AIDS epidemic, the war on drugs, the US proxy wars in Central America, Afghanistan, and the Middle East, the Soviet collapse—not as history but as the camouflage-pattern of “then” and “to come” which form the flickering and very real habitus of the present.