Fink's writing somewhat resembles photography. The writer focused on snapshots of reality that she presented in close-ups, leaving dramatic events out of the frame. She evoked images from her memory – sometimes they would be blurry – and turned them into literary forms, mostly short stories. Fink was cautious about composition and details, avoiding commentary and moral judgments – yet her snapshot stories bring forth strong emotions. She wrote exclusively in Polish and presented the Holocaust from within. Hanna Krall said:
I haven't known anybody else who would rescue so much of the old, prewar world in herself after such wartime experiences.
In her short stories, Fink has invoked the landscape of her hometown, Zbarazh, numerous times. She grew up in a wealthy, assimilated, secular family that treated Judaism as part of cultural heritage rather than religion. Her father, Ludwik Landau, was a doctor, and her mother, Franciszka Stein, taught biology and was the vice-director of the middle school the Fink attended. Fink had been around literature and has learnt languages since she was a kid. Right after her final exams, in 1938, she started studying piano at the conservatoire in Lviv. Her studies were terminated when the German-Soviet war broke out in 1941. She never went back to playing – music would, however, reappear in her life many times.
Fink and her younger sister ended up in the Zbarazh ghetto. They escaped in 1942 and went to the Third Reich using Aryan documents. The writer described these experiences in her book The Journey, which she preferred to describe as autobiographical fiction rather than a novel. The protagonists of the book, two young Jewish women, are forced to constantly assume a new identity in their fight for survival. Paradoxically, the continuous anxiety the book evokes is achieved using discreet language, bereft of any cheap sentimentalism and shrieks of despair. At the beginning and the end of the work, the author used third-person narration, as if to achieve some distance to the events depicted. This outside perspective may suggest that the storytelling is objective, but also change the focus from individual experiences to general fate.
After World War II ended, Fink came back to Poland and found her father (her mother died at the beginning of the war). They moved to Lower Silesia together. In 1948, the writer married Bruno (Brosnisław) Fink, an engineer and pianist. A year later she gave birth to her daughter, Miri. She worked as a reporter in the Polish Radio. In 1957 Fink and her family emigrated to Israel. She worked in Yad Vashem, documenting the testimonies of Shoah survivors, and protocoled their sworn statements for a Tel Aviv court. Later on, she worked as a librarian in the music department of Goethe Institut. However, she had always wanted to become a writer. As she said in an interview for Gazeta Wyborcza: