David Winner




“A searingly insightful, tragicomic adventure that lays bare personal and political fault lines.”
 Kirkus-starred review of Enemy Combatant

“A brash literary thriller that plunges deep into the mind of a criminal and his creator.”
Kirkus Reviews

“Readers will be captivated by this complex and absorbing book.”
Necessary Fiction


David Winner’s Kirkus-recommended second novel, Tyler’s Last, released by Outpost 19 on October 1, 2015 has received advance praise from Ann Beattie who called it, “original and fascinating.” Zachary Lazar described it as aa comic and dazzling movie-in-words. “ John Casey called it a “double pleasure.”  Elizabeth McKenzie said it “casts a narcotic spell, leaving one savaged as well as tremendously impressed.” Elizabeth Evans wrote the following: “With the magical plot of Tyler’s Last, Winner proves himself a son of Nabokov. An aging, maniacal author’s struggles to finish her final “Tyler” book are divinely echoed and, ultimately, wildly entwined with the actions of her even madder creation. Just finished this tour de force, and I’m ready to read it again!”


His first novel, The Cannibal of Guadalajara, won the 2009 Gival Press Novel Award and was nominated for the National Book Award. It received advanced praise from John Casey, National Book Award-winning author of Spartina, who called it a “terrific novel…sharp, sympathetic and painfully funny,” and Shirley Hazzard, National Book Award winner for The Great Fire, who said that he has “a clear bright eye and as fine an ear for what is poignant as for what is absurd. I look for more of his profane comic sense.”  Joy Williams, Pulitzer Finalist and winner of the Harold and Mildred Strauss Living Award from the American Academy of Arts, called it “a devilishly delicious and disorienting novel. Food, sex, ghastly travel experiences, tantrums, Cannibal has it all, along with one of the most peculiar versions of the family triad in literary years.”  The Brooklyn Rail called it, “a powerful tale … a wry criticism of American culture,” and Literal Latte said it is a “well-written book full of delightful surprises… that truly rare thing — a comedy with heart.”


“My Lover’s Moods,” a short film based on a story of Winner’s, played at Cannes in 2007.  “A Traveler’s Tale,” another story, was awarded first prize in The Ledge magazine’s 2003 Fiction Contest, and was nominated for a Pushcart. “The Rites of Pozzalo,” published in the 2000 issue of Fiction, was also nominated for a Pushcart.   Other fiction and non-fiction have appeared in The Village Voice,  The Iowa Review (upcoming), “The Kenyon Review” (upcoming),  Chicago Quarterly Review (upcoming),  Bookforum, Confrontation, Phantasmagoria, Berkeley Fiction Review, and several other American journals as well as Dream CatcherBuzzwords and Staple in the UK.  “The Pied Piper of the Jews,” published in the Stickmanreview.com, has been included in Novel Strategies, an anthology of readings for beginning college students.  He received a Master of Fine Arts in fiction from the University of Arizona, where his story “The Death of Husbands” was nominated for the Associated Writing Program’s Intro Award.


David Winner’s third novel, Enemy Combatant, will be released by Outpost 19 in March of 2021. Ann Beattie writes that it “appropriates Americana, from road movies to virtual reality games, and provides –as the cliché goes — “a rollicking good time,” while undercutting that notion entirely, as selfish, unaware, and dangerously self-serving.” And Elizabeth McKenzie says that, “over and over, sentence by sentence we’re caught off guard, leaving us in state of eerie suspense the whole book through.”

Winner coedited Writing the Virus, an anthology of writings about the early days of the pandemic and the Black Lives Matter protests that was released by Outpost 19 on November 1, 2020. The anthology, which Kirkus describes as “vivid testimony to the depth and breadth of suffering during this uniquely stressful time,” has work by Roxanna Robertson, Joan Juliet Buck and others including himself.


He is the fiction editor of The American, a web magazine based in Rome.   www.theamericanmag.com



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Tyler’s Last

Tyler's Last cover image

Advance praise for Tyler’s Last by David Winner

from John Casey:

“David Winner’s new novel is a double pleasure — for one, there is an engrossing thriller with an alternately hapless and capable scoundrel, flight and fight, twists and turns. . . The second pleasure is that that thriller is in the process of being written by an aging woman author who is transforming her own pursuits and betrayals in her fiction. This meta-move is clever, but it turns out to be much more than clever. She is, for all her high-handed treatment of her entourage, a memorably sympathetic and moving character. The two fictions reinforce each other resonantly. Bravo!”
from Ann Beattie:

“It’s hard to describe David Winner’s fascinating and original book. On one level it’s satirical, but as with any kind of comedy, its performance depends on our understanding the riff being done on very serious matters. Also, as the author knows, the serious and the satirical are by now often synonymous in people’s minds, our society has become so absurd. I kept thinking of Hitchcock, and the way he made his audience voyeurs. David Winner’s method is similar, though there’s more than a whiff of Tarantino in the Hitchcock homage, as well. It’s riveting and funny, a sort of dazzling movie script that is a novel that involves another book within it. . . It comes at you cinematically, but with the advantage of a novel that alludes to literary models, as well. Its language is hipster shorthand for readers to absorb as they become spectators to the extravaganza, as the book, itself, expands into its political implications. Tyler is certainly the last person I would ever want to sit next to on an airplane.”

from Elizabeth McKenzie:

“Fans of Patricia Highsmith will be enthralled by David Winner’s perverse homage to the author and her milieu. This novel casts a narcotic spell, leaving one savaged as well as tremendously impressed.”
from Elizabeth Evans:

“With the magical plot of Tyler’s Last, Winner proves himself a son of Nabokov. An aging, maniacal author’s struggles to finish her final “Tyler” book are divinely echoed and, ultimately, wildly entwined with the actions of her even madder creation. Just finished this tour de force, and I’m ready to read it again!”
from Zachary Lazar:

“Tyler’s Last is both parody and homage, aimed not only at the Ripley novels of Patricia Highsmith but at their lost mid-century glamour. A comic and dazzling movie-in-words, Winner’s book shuttles us around the globe–Italy, France, The Netherlands, Senegal–in a gratifying game of illusion and counter-illusion, color and intrigue, all rendered with Nabokovian venom and glee.”


Released October, 2015 by Outpost 19

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Writing the Virus



Writing the Virus




WRITING THE VIRUS: NEW WORK FROM STATOREC MAGAZINE draws from writing published in the online literary magazine StatORec from mid-April to September 2020. Its 31 authors explore the experience of lockdown, quarantine, social distancing, and the politicization of the virus from a wide variety of perspectives. The majority of the texts were written exclusively for the Brooklyn- and Berlin-based journal, and a keen sense of urgency prevails throughout, an understanding that the authors are chronicling something, responding to something that is changing them and the social fabric all around them.

Contributors include Joan Juliet Buck, Rebecca Chace, Edie Meidav, Caille Millner, Uche Nduka, Mui Poopoksakul, Roxana Robinson, Jon Roemer, Joseph Salvatore, Liesl Schillinger, Andrea Scrima, Clifford Thompson, Saskia Vogel, Matthew Vollmer, and David Dario Winner, along with 15 others.



“a diverse, often intimate collection of stories, essays, poems, novel excerpts, and flash fiction that serves, according to Winner, ‘as a record and reminder of a very strange period in all our lives.’” – Kirkus

“—because I wanted to compile a record composed of as many voices as possible, before we began forgetting things”
– Editors Andrea Scrima and David Winner in conversation with Rebecca Chace at The Brooklyn Rail

“WRITING THE VIRUS is likely the first anthology to take a multi-dimensional view of the pandemic” that has killed over 200,000 Americans, more overseas, wrecked the American economy, and changed lives forever.” – James Bernstein, The Long Beach Herald

“Throughout, Writing the Virus explores the relationship between creative endeavors and hope. Writers leave the city to find the peace to work but return for the vital energy of home. Artists risk failure in the quest for a sense of control. We all fight to stay open to the present as a way of preparing for the future” – John P. Loonam, Washington Independent Review of Books

“How to take the temperature of this crisis, this opportunity, this nightmare, this wake-up call? Writing the Virus rounds up a wonderfully diverse array of voices, each addressing—in its own singular, memorable way—all that the pandemic has laid bare. This collection gives us what we need now: talented writers of all stripes, weighing in with honesty, vigor, anguish, and hope. Read this book: it’ll help.” – Martha Cooley author of The Archivist and Thirty-three Swoons

“The essays and reportage in StatORec’s new anthology are about time, time measured against the presence of the pandemic: Time is upon us. Time may be running out. Time is lost; time is found. The urgent mission is to reflect: What days are these? What manner of people are we? Who will those of us who survive become? This is a new time, in which our Western predilection to plan is revealed as a cardboard construct, blown down by an enemy contained in a breath. Yet with its literary response in real time, this dedicated issue stands as witness to our illusions and our failures but also to our tenacious willingness to love and to learn.” – Jacquelyn Mitchard author of The Deep End of the Ocean

“We live in the era of the pandemic, more than a million still die each year of TB, 700,000 from HIV and AIDS, nearly half a million of malaria. And since January: COVID-19. As I read WRITING THE VIRUS, the death toll from this new disease surpassed 1 million. The scale of this loss is unimaginable. We need to feel it one person at a time, which is precisely what WRITING THE VIRUS does with its moving diaries and essays, with its psalms of grief. This is a hard issue to read, but it preserves the truth of a bitter, bitter time, maybe it will even help us mourn. A task many of the world’s most powerful governments have proven unwilling and even eager not to do.” – John Freeman author of How to Read a Novelist and The Park and editor of the Freeman’s anthologies

“This mighty chorus of voices, carefully mixed and layered, pierces the muddled noise of our pandemic moment. How thrilling and comforting to witness some of our most powerful writers wielding their best weapons against ‘the invisible enemy’—shimmering artistry, ruthless candor, and a fearless gaze.”  – Debra Jo Immergut author of You Again and The Captives

“The months spent living in the shadow of the pandemic have compressed and expanded time in unusual ways. WRITING THE VIRUS is an important and compelling reminder of the days we might otherwise lose to the haze of the past and evidence of the myriad reckonings—public and personal—that will shape us going forward.” – Oscar Villalon managing editor, Zyzzyva

“If a literary remedy could soothe the nested anxieties of our current moment, WRITING THE VIRUS would be the antidote we’ve been seeking. This bold new anthology from the editors of StatORec draws on 31 essays, stories, excerpts, and poems published on the magazine’s website as the pandemic unfolded. The authors, including Edie Meidav, Uche Nduka, and Liesl Schillinger, share trenchant investigations and paeans to love and survival while the irregular rhythms of locked-down days undulate beneath the surface. This impressive anthology lets readers view the virus, racial violence, and volatile political climate as a triad within a continuum. A testament to the vital role of writers—as witnesses, chroniclers, translators, synthesizers, resistors—during uncertain times, Writing the Virus will energize, enrage, and give you reasons to be hopeful.” – Margot Douaihy editor, Northern New England Review

“Covid-19 is the new normal, an unprecedented cultural shift that pressurizes our communities and estrangements, requiring us to reinvent the discourse we use to describe the ‘everyday.’ This anthology provides us with vital and thoughtful dispatches from inside the virus’s transformative, insidious tedium. Vulnerable, bold, tentative, utopic, WRITING THE VIRUS gave me un-Zoomy succor from some of the best essayists writing today.” – Carmen Giménez Smith author of Be Recorder and Cruel Futures


Throughout the spring and summer of 2020, as American citizens endured months of anxiety and Corona-related hardship, mounting pressure helped fuel a mood of anger and frustration at the US government’s grossly inadequate reaction to the pandemic. It soon became clear that people of color, many of whom are employed in the so-called “essential” professions, were disproportionately affected by the virus. When a Minnesotan police officer infamously pinned George Floyd down in a knee-on-neck hold for seven minutes and forty-six seconds, killing him before the eyes and cameras of horrified onlookers, an age-old anger at racial injustice merged with a free-floating, Corona-induced volatility to fuel the BLM protests, which were nonetheless surprisingly peaceful and disciplined. The works in this collection, all of which predate the 2020 election season and its aftermath, regard the virus and the viral political climate as a single continuum. The 30 essays, poems, stories, and novel excerpts record a progression of events and emotional states: from Corona’s emergence in January 2020 to everything it’s revealed to us since then—having thrown a spotlight on fault lines here and abroad in a starker way than ever before.
The range of this remarkable anthology is broad: there’s a haunting story that explores the psychological dimensions of an anti-Asian hate crime with a curiously absent culprit; hallucinatory prose that gropes its way through a labyrinth of internalized fear as human encounters are measured in terms of physical distance; a piece on the uncomfortable barriers of ethnicity, civic cooperation, and racism as experienced by someone going out for what is no longer an ordinary run; and a jazz pianist who listens to what’s behind the eerie silence of the virus’s global spread. Writing the Virus includes a historical essay on the post-Cold War militarization of the police and the racist roots of police brutality; poems that probe racism’s dark and violent undercurrent in American society; a piece written as a response to the Black Lives Matters protests that reflects on COVID, Malcolm X, lockdown, and discovering a new room within to make one’s voice heard; and an essay that appeals to the power of love in the Black community as our strongest and most promising force for change. There are also essays about the beginnings of the pandemic and on the Bergamo/Valencia soccer game in Milan, the biological bomb that led to the virus’s rapid spread throughout northern Italy; about masks and guns that capture America in all its dangerous absurdity in a cops and robbers game gone horribly wrong; and essays that examine lockdown in disabled housing, women’s increasing vulnerability to mental and physical pain during and after abortion procedures, the unsavory sentiments behind one of America’s most-cherished narratives, the conquest of the West, as well as new motherhood as it reconfigures the geometry of transatlantic family ties in times of pandemic.
For WRITING THE VIRUS, the editors of the magazine and anthology, Andrea Scrima and David Winner, have organized the authors’ contributions into six categories:
“Chronicling the Pandemic,” composed of essays, among them a harrowing account of contracting and surviving COVID-19, that track events over a particular period of time and range from the virus’s first appearance in early 2020 to the weeks and months of uncertainty that followed;
“The Anxiety of Distance,” which brings together pieces that capture the strange psychological space of isolation and social distancing;
“Writing Against the Virus,” a group of works in which the very meaning and purpose of writing comes under scrutiny in the context of a larger crisis;
“To COVID, with Love,” comprised of essays and an excerpt from a novel-in-progress in which the overriding response to the global pandemic is a renewed focus on personal relationships, caretaking, and love; “Invisible Danger,” in which a sense of fear and even paranoia over an essentially unknowable enemy prevails; and
“The Fallout,” a collection of essay and poems that explicitly address the socio-political implications and after-effects of the pandemic.
While each of these works could easily inhabit several categories, the editors have looked to their underlying mood, an atmosphere that lingers beyond the ideas, facts, and events they describe. The sections themselves—which track the progression from epidemiological threat to the political crisis the virus soon became—sketch out the evolution of Corona’s rapidly changing meaning over the past half year. As Andrea Scrima wrote in her introduction to this important anthology: “It’s our belief that these pieces of writing, composed in unusual times and under considerable pressure, will endure as documents of a particular period of history, testimonies to states of mind we will quite possibly have forgotten as we turn our attention to the new challenges facing us.”

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Enemy Combatant


Enemy Combatant


ENEMY COMBATANT is a hyper-charged misadventure driven by a young American’s rage against his government.
After stumbling on evidence of CIA secret prisons in Armenia and Georgia, Peter recruits an old friend to help free a dark-ops detainee — an impossibly reckless prison-break mission, with no skills and no resources, no connection to the captured soldiers and no solid plan for getting home — fueled by too much alcohol, a pressure-cooker marriage and the recent death of a parent. Set during the second Bush administration, ENEMY COMBATANT takes readers on a fantastical, adrenaline-packed journey from a smelter in Caucasia across the Turkish borderland to Homeland Security at JFK.
Dark, comic and action-packed, ENEMY COMBATANT is the story of an aggrieved man acting out on the global stage, a raucous portrait of collateral damage from America’s war on terror.
Advance praise:

“ENEMY COMBATANT covers a lot of territory, factually and metaphorically. It appropriates Americana, from road movies to virtual reality games, and provides –as the cliché goes — ‘a rollicking good time,’ while undercutting that notion entirely, as selfish, unaware, and dangerously self-serving. Sound like any country you’ve ever heard of? So, as I read it, this novel gathers its tropes and its metaphors as it speeds toward a kind of enlightenment for its two hazardously American male characters. It’s obviously a cautionary tale and a cosmic warning. To make a bad pun: It’s a take no prisoners book.”
– Ann Beattie, author of A Wonderful Stroke of Luck: A Novel

“With his unsettling and completely original style, Winner brings together the buddy film, the war on terror and extravagant foreign settings in this novel that feels like a soon to be discovered blockbuster. Over and over, sentence by sentence we’re caught off guard, leaving us in state of eerie suspense the whole book through.”
– Elizabeth McKenzie, author of The Portable Veblen: A Novel

“David Winner’s hypnotic page-turner, ENEMY COMBATANT, takes us back to the Bush era, during the Trump one. Winner’s humor and agile imagination make the improbable story of two crazed Americans trying to rescue a prisoner from a CIA secret prison in Armenia both moving and believable.”
– Karl Geary, author of Montpelier Parade


Kirkus Starred Review of Enemy Combatant

Review on booklife.com by Publisher’s Weekly

Indie Reader review

Enemy Combatant: An Interview With David Winner at 3 Quarks Daily

David Winner’s Playlist for His Novel “Enemy Combatant” at Large Hearted Boy

A Channeling of Rage: Q & A with David Winner at Bloom


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Tyler's Last Cover Image

Tyler’s Last by David Winner



Tyler’s Last. Outpost 19, 2015.

The Cannibal of Guadalajara. Gival Press, 2010 .


An Excerpt from “Aunt Dorle’s Master Lovers”  Kenyon Review, 2017

“Vous detestez les Arabes?” upcoming in Chicago Quarterly Review

“Baited Breath” The Weeklings, 2014

“All of Me.” Bookforum, 2011.

“The Boys on the Side.” Village Voice, 2005.

The Daisy Assassin StatOrec, 2020. Link to come.

The Oriental Master StatOrec, 2019 Link to come

Prose Poems:

Untitled Prose Poem.  Liner Notes of Scratch that Itch, David Byrne Luaka Bop Compilation for Warner Brother’s, 1992.



“The Pied Piper of the Jews,” originally in Stickmanreview.com, included in Novel Strategies, a Prentice Hall Pearson anthology of readings for college students, 2011.

Short Stories:

“Breed” upcoming in The Iowa Review

“Crime Wave at Goose Rocks Beach”  upcoming from Make on-line

“Leonora.” Joyland 2012

“Radio Lima.” KGB Bar Magazine 2011.

“Beat: a Morality Tale.” KGB Bar Magazine, 2009.

“Wrong Town.”  Dream Catcher (UK), 2008.

“Poor Tom’s Tale.” Cortland Review, 2008.

“Performance.” Stickman Review, 2008.

“Foot: A Tale of the Irrational Mind.”  Berkeley Fiction Review, 2007.

“Uncle Giorgio’s Magic Blow Job.”  Staple (UK), 2006.

“The Pang of Queer.”  Confrontation, 2004.

“A Traveler’s Tale” , reprinted in Buzzwords (UK), 2004.

“The Mysteries of Edgar.”  Phantasmagoria, 2004.

“A Traveler’s Tale.”  The Ledge, 2003.

“Ling Ling Lang.”  Thought Magazine, 2003.

“Cousin Love.”  Thought Magazine, 2003.

“My Lover’s Moods.” Storyglossia, 2003.

“The Pied Piper of the Jews.” Stickman Review, 2002.

“The Rites of Pozzalo.”  Fiction, 2000.


John Domini
Storytelling Should Never Be Confused with Sociology: The Millions Interviews John Domini

Clifford Thompson

Zachary Lazar
Vengeance: ZACHARY LAZAR with David Winner

Jon Roemer
Fires Burning, Windows Breaking: JON ROEMER with David Winner

Olivia Cerrone
Fostering A More Socially-Conscious Narrative: OLIVIA KATE CERRONE with David Winner

Adam Braver
ADAM BRAVER with David Winner

Suzanne Dottino
Nothing Embarrassing or Strange: Curating KGB Bar’s Writers’ Series

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2010 National Book Award Nomination

2010 Finalist: National Best Books Award for Fiction: Multicultural Fiction

2009 Gival Press Novel Award

2003 Ledge Magazine Short Story Award

2003 Pushcart Nomination

2002 Pushcart Nomination

1991 Associated Writing Program Intro Nomination

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Wring the Virus | Statement of Record: A Conversation with StatORec Editors Andrea Scrima and David Winner in conversation with Rebecca Chace – brooklynrail.org

Book Notes – David Winner “Tyler’s Last” – largeheartedboy.com

Dark Atrocities: DAVID WINNER with Tyler Gore – brooklynrail.org

SEVEN QUESTIONS FOR THE WORKING WRITER: David Winner – Interview with Jenna Leigh Evans

Interview with Suzanne Dottino – kgbbarmag.com

BLAZING SUNBURSTS AND HOWLING MONKEYS: David Winner with Andrea Scrima – brooklynrail.org

Kenyon Review Conversations: David Winner – kenyonreview.org


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A powerful tale … a wry criticism of American culture.” Brooklyn Rail
“Well-written book full of delightful surprises… that truly rare thing — a comedy with heart.” Literal Latte

“A devilishly delicious and disorienting novel. Food, sex, ghastly travel experiences, tantrums, Cannibal has it all, along with one of the most peculiar versions of the family triad in literary years.” Joy Williams, Pulitzer Finalist and winner of the Harold and Mildred Strauss Living Award from the American Academy of Arts.

“Discoveries of individual existence in a great city illuminated by a keen observer and the women who cross, or linger on, his path.  David Winner has a clear bright eye and as fine an ear for what is poignant as for what is absurd.  I look for more of his profane comic sense.” Shirley Hazzard, National Book Award author of The Transit of Venus and The Great Fire.

“David Winner’s Cannibal of Guadalajara is a terrific novel.  It is high comedy – both sharp and sympathetic in its precise description of attitudes and manners– and painfully funny in its well-timed outbursts. And yet another aspect I admire — the range of age of the characters.  Winner can do smart (though occasionally foolish) middle-aged female, difficult young guy, even more difficult old guy as well as a host of minor characters from scampering children to a crusted octogenarian.” John Casey, National Book Award author of Spartina.

“Is it about ruptured families and their reframing? About Latin and North America commingling by way of Manhattan and Mexico, in a mess of nightmare and dream? Or have we a fine and bumpy ride, comic and yet catch-in-the-throat, through the surprises of sex and romance in a hitherto undemonstrative woman now nearing 60? The answer, as you’d expect in a thwacking sweetheart of a novel, is all the above. Small wonder that its turning points generally arrive, with a satisfying bang!, during expansive and complicated meals. Small wonder that expectations about who will wind up with whom, and why, get delightfully upended. For all the control with which it’s written—always at distance enough for a smile, but never enough for a smirk—The Cannibal of Guadalajara proves anything but a finicky eater.”  John Domini, author of The Tomb on the Periphery and judge of the 2009 Gival contest.

Coming soon from  Gival Press

Literal Latte
Brooklyn Rail

Forward Magazine
The Cannibal of Guadalajara
David Winner
Gival Press

Families come in all shapes and sizes; sometimes they sneak up on us fully formed. This is what happens to Margaret Heller after her divorce. Just as she’s settling into the rather lonely routine of a single person, she finds herself the center of an unorthodox version of a family.

As a lover, Dante Herreras isn’t such a great catch. His bevy of emotional problems make spending time with him an exercise in tension, and his style of coupling can be a turnoff. Inevitably, the attraction between Margaret and the younger Dante fizzles. But Dante and his welcoming family refuse to be abandoned. An excursion to Guadalajara for the birthday party of Dante’s uncle and childhood tormentor cements the new ties between Margaret, her ex-husband, and Dante, and they find themselves settling into the roles of parents and child, roles they had no idea they needed.
Winner, who won the Gival Press Novel Award, writes with great cunning and precision. A few of the scenarios his characters find themselves in—face down in a resplendent episode of masturbation among jungle plants, drinking martinis in the kitchen of old friends while a lover smashes antiques upstairs—border on ridiculous, but with grace, humor, and a steady hand, Winner transforms embarrassing moments into the briefest of epiphanies. Margaret, Dante and Alfred are as human as they possibly can be.

Andi Diehn

Profile in Daily Iowan – click here

Review in New York Newsday – click here

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Reviews of Tyler’s Last

Tyler’s Last – Kirkus Review

Tyler’s Last – Necessary Fiction

Giving Highsmith Her Due — and Her Dirt: Tyler’s Last by David Winner – Electric Literature

Tyler’s Last – The Nervous Breakdown’s Review Microbrew, Volume 1  (Direct link to review via citebite)

Tyler’s Last – KGB Bar Lit

Tyler’s Last – Portland Book Review

Ripley, Reprised – bookscover2cover

‘Tyler’s Last’ by David Winner: A Round-the-World Paean to Patricia Highsmith – Flung Magazine


Tyler’s Last – The American Magazine

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A deranged tale of illicit South American travel during Covid.


Dorle’s Master Lovers/Fictional Memoir

Dorle’s Master Lovers” is an expansion of a long essay appearing in The Kenyon Review about love letters that I discovered in the apartment of my late great aunt Dorle who had been a figure in the music world, helping bring Callas to New York. As an adolescent in the nineteen teens, Dorle published stories in Romance magazine called Master Lovers of the Worldabout Casanova, Henry the Eighth, Lord Byron and others.  In the thirties, she had (at least) seven of her own lovers (most of whom married) including Toscanini, John Franklin Carter who, according to the Times, started a “Hitlerest” party to run against Roosevelt, Alfred Tennyson Barker, a British police officer who governed a large swath of Mandate Palestine, JBS Haldane, the communist/geneticist who came up with the idea of in-vitro fertilization. The book uses the letters, images, research and fiction to tell the story of Dorle, her lovers, and that tense and complicated pre-war era.

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