Salih had become a Marxist as a teenager because she could not accept that the world was “a place of boundless suffering.” “The militant,” she wrote, “is someone who responds to a form of collective awareness. He steps into the movement for the sake of correcting the ever-crooked balance between truth and history.” Salih was never able to accept the crookedness of that balance—and it ended up unsettling her own life. She had trouble finding a place for herself, socially and professionally, in Egypt, and wrote part of The Stillborn while traveling alone in Europe. Decades later, she remarked, “I keep colliding with that ever-widening abyss between what is and what should be.”

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Yet Salih continued to value Marxism as a way to see the world: “Marx was the last of the great thinkers, and part of my brain will always tick with a mechanism acquired from the world of his ideas.” Her own bitter experience, however, taught her to be deeply suspicious of ideology and how it could turn into a deadening, stultifying force rather than a means to engage with the world. She invoked Milan Kundera’s notion of totalitarian kitsch: a sort of “violent sentimentalism embodied in a collective dream of salvation.” When you embrace this kitsch and its ready-made certainties, you insist that you have all the answers, and “you refuse the human being as a world unto herself, alive with contradiction.”