David Torres (Madrid, 1966) holds a degree iin Spanish philology. He is a writer and a journalist.
He has a weekday column in the daily Público (, publishes regularly in Cuartopoder and writes frequently for the newspapers El Mundo/ El Día de Baleares and for ‘El viajero’, the weekly travel supplement printed by yet another paper, El País.
He also collaborates in alternative media such as the website ‘Pasión Habanos’ .

He teaches at the Hotel Kafka literary school and has worked as a screenwriter for Spanish national television's programme 'Al filo de lo imposible’ [borderline impossible].

His oeuvre has been translated into a number of languages. He has been awarded a bevy of prizes: the Logroño Prize for his novel Punto de fisión (Algaida, 2011), the Tigre Juan and Dashiell Hammett Prizes for his novel Niños de Tiza (Algaida, 2008), the Marca Prize for Robando tiempo a la muerte, written with Sebastián Álvaro (Pearson Educación, 2006), the Sial Prize for his book of short stories Donde no irán los navegantes (Sial, 1999) and the Desnivel Prize for his novel Nanga Parbat (Desnivel, 1999).

He was runner-up for the Nadal Prize with his novel El gran silencio, published by Destino (2003), with which he has published two other novels: Todos los buenos soldados (2014) and El mar en ruinas (2005).
He has authored collections of short stories, including Dos toneladas de pasado (Editorial Sloper, 2014) and Cuidado con el perro (La Bolsa de Pipas, 2002).
La sangre y el ámbar is a travel book on Poland published by Ediciones B in 2006.
He co-authored the novel Los huesos de Mallory with Rafael Conde (Desnivel, 2000).
David Torres has also published a book of poetry, Londres (Sial, 2003).

His work Palos de ciego, will be published by Círculo de Tiza in October 2017, during the first centenary of the Russian revolution.

David Torres is finishing his new novel, Libro de familia, to be published by Algaida in March 2018.



Palos de ciego (Círculo de Tiza, October 2017)

When doing research for a novel about the Stalinist massacre of blind poets in Ukraine in the nineteen thirties, David Torres discovered that very few records had been kept on the incident. 
The investigation he then initiated took him much farther than he’d anticipated: a journey into a shady history and his own past, lit by the totem of a stillborn older brother. A host of shadows and personal memories march by under Stalin’s ubiquitous shadow: composer Dmitri Shostakovich, pianist Maria Yudina and poets Ossip Mandeshtam and Anna Ajmátova, among other characters. 

Palos de ciego is a hybrid book that delves into the mystery of memories and propagandistic lies, the limits of fiction and the difficult search for truth: an inquiry to commemorate the first centenary of the Russian revolution from a very original perspective.

El mar en ruinas (Destino, 2005)

In El mar en ruinas David Torres describes Odysseus’s life and the lives of characters such as Penelope and Telemachus after the hero’s return from the Trojan War. The story is fraught with new difficulties and misfortunes for its protagonist. El mar en ruinas is both the continuation of the tale of the King of Ithaca and a much more humane and less mythical version of the Odyssey in which the characters shed their paradigmatic personalities to acquire more authentic and complex psychologies.
This novel on the Odyssey pries brilliantly into power, ambition, madness and the forging 





El gran silencio (Destino, 2003)

Runner-up, Nadal Prize, 2003
Roberto Esteban, a retired boxer who once came within inches of glory, earns a living as a hired thug. His only friends are a laconic waiter and a tiny Siamese fighting fish, his only entertainments boxing and the obsessive re-listening to Schumann’s Fantasie in C Major. When Esteban accepts a job to protect a young ballerina who’s received death threats, he is dragged into an obscure quest in which a lame Flamenco dancer, a dogfight-loving dwarf and a shady art dealer form a chorus against which the boxer is pitted, as his past comes back to haunt him. The Greek labyrinthic myth, the chiaroscuros of crime fiction, the splendour of dance and the boxing epic are intertwined in a plot spattered with violence and sarcastic humour, but also with a desperate sort of lyricism in which broken promises are kept in line with an incorruptible slum neighbourhood ethic.