Following World War I, Vinaver briefly worked for the Ministry of Education of the newly created Kingdom of Serbs, Croats and Slovenes (later Yugoslavia).

This period was defined by his tumultuous relationship with his ethnic German wife, who held anti-Semitic and anti-Slavic views, as well as his inclusion in Rebecca West's acclaimed travel book Black Lamb and Grey Falcon.

His status as a former Royal Yugoslav Army officer saved him from probable death, but his elderly mother was not as fortunate, and was murdered in the gas chambers the following year.

The Yugoslav monarchy had been replaced with a communist government under the leadership of Josip Broz Tito, and Vinaver's works were blacklisted due to his Serbian nationalist views and modernist style.

[6] He also attended the lectures of the philosopher Henri Bergson and the anthropologist Lucien Lévy-Bruhl, and studied music under Wanda Landowska.

[3] Following the outbreak of World War I, he reenlisted and again fought with the Students' Battalion, which played an important role in defending Serbia from Austria-Hungary in the early months of the conflict.

[9][a] That November, Serbia was overwhelmed by a combined Austro-Hungarian, German and Bulgarian invasion, forcing the VKS to retreat across Albania to the Greek island of Corfu.

In 1917, Vinaver joined the Serbian diplomatic mission in Petrograd (modern-day Saint Petersburg), working as a translator.

[14] Vinaver features prominently in Rebecca West's acclaimed 1941 travel guide Black Lamb and Grey Falcon, appearing under the pseudonym Constantine.

The Yugoslav monarchy had been replaced with a communist government under the leadership of Josip Broz Tito, and the publication of Vinaver's works was discouraged, alongside those of writers such as Jovan Dučić and Miloš Crnjanski.

[3] He authored the first avant-garde programmatic text in Serbian literature, Manifest ekspresionističke škole (Manifesto of the Expressionist School; 1920).

"[21] Vinaver continued writing parodies even after the war, despite his Holocaust experience, this time targeting Yugoslavia's new communist authorities.

[24] Most prolific as an essayist and a poet, Vinaver made his literary debut in 1911, with a collection of poetry titled Mjeća.

Slapšak believes that Vinaver used nonsense as a means of magnifying non sequiturs and logical fallacies, thereby exposing academic discourse and even the avant-garde itself to mockery and ridicule.

[21] Vinaver sporadically resorted to Greco-Roman mythology as a literary device, referring to the Classics ironically, naming texts after well known myths, or referencing them to reinforce an argument.

He argued that contemporary poets were "flying between the sun of metaphysics and the water of social conformity," and that if they were not careful, they were "doomed to perish without a trace.

[16] In September 2011, the Government of Serbia unveiled a commemorative plaque dedicated to Vinaver on the façade of the Belgrade building in which his apartment was located.