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David Winner

David Winner’s Kirkus-recommended novel, Tyler’s Last, concerns Patricia Highsmith and Ripley. His first novel, The Cannibal of Guadalajara, won the Gival Novel Prize and was nominated for the National Book Award. His writing has appeared in The Village Voice, The Iowa Review, The Kenyon Review, Fiction, and several other venues in the US and UK. Winner is the fiction editor of The American and senior editor at Statorec.com. His third novel, Enemy Combatant, is scheduled to come out early next year.

Quite Close To Murder

Carol—a film adaptation of Patricia Highsmith’s The Price of Salt—Todd Haynes serves up a demure set of heroines, lovers who are as refined as their cashmere sweater sets, coolly principled in the face of a condemning world. Haynes saturates Patricia Highsmith’s 1952 novel in golden hues punctuated with Max Factor reds, and keeps to the dignified tone of her only lesbian novel.

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

t’s Harvard Lampoon night at the East Village’s famed KGB bar, and Suzanne Dottino, its Sunday night reading series curator for fourteen years, has arrived early to make sure things run smoothly.

In Conversation

Fostering A More Socially-Conscious Narrative
Olivia Kate Cerrone with David Winner

Olivia Kate Cerrone’s remarkable novella, The Hunger Saint, due to be released in April by Bordighera Press, takes us to a postwar Sicilian world not often written about or discussed: the sulfur mines where young boys called carusi worked in abysmally dangerous conditions, victims of a type of indentured servitude known as a soccorso morto.

In Conversation

Fires Burning, Windows Breaking

Jon Roemer's harrowing, hilarious, and strangely heartfelt debut novel, Five Windows upends two essential tropes: the thriller and the dystopic novel. À la James Stewart in Rear Window, Roemer's injured small press editor/protagonist seldom leaves his SF apartment and doesn't witness anything near as thriller-fulfilling as a murder, yet readers will flip as quickly as they can through the pages to find out if he will sign on the ominous Sebastian Junger-like famous writer to his small press, what exactly happened to the drastically injured Darrel who lives upstairs, and what is going on with the household of women, including his ex-wife, living in a building that is visible from his window. Without living dead or creepy disappearances, Roemer conjures a subtly dystopic world, just a little bit weirder and scarier than our own.

In Conversation

CLIFFORD THOMPSON with David Winner

Clifford Thompson’s What It Is: Race, Family, and One Thinking Black Man’s Blues meticulously details one black man’s loss of innocence after the election of Donald Trump. In searing, sometimes funny prose, Thompson tells of his growing up in working-class, African American Washington DC, his marriage, and fatherhood.

In Conversation

Vengeance: ZACHARY LAZAR with David Winner

Every Zachary Lazar book since Sway (2008), his hypnotic study of chance connections between the Rolling Stones, Kenneth Anger and the Manson Family, creates its own genre.

In Conversation

Statement of Record: A Conversation with StatORec Editors Andrea Scrima and David Winner in conversation with Rebecca Chace

“This is why literary magazines remain crucial in times of crisis. You walk that tightrope by providing readers with a range of responses to the world around us, and the magazine becomes a place to engage in challenging, revealing conversations.”

In Conversation

ADAM BRAVER
with David Winner

Adam Braver’s haunting and mysterious novel, The Disappeared, plays with the notion of terrorism and its aftermath. Both of its two protagonists have had loved-ones disappear. Both disappeared-ones may have been lost in terrorist events...

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The Brooklyn Rail

SEPT 2020

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