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A long line had formed for the standing-room-only section of the Woffington Theatre. London’s favorite musical comedy of the past two years was finishing its run at the end of the week. Suddenly, the line began to move, forming a wedge before the open doors as hopeful theatergoers nudged their way forward. But one man, his head sunk down upon his chest, slowly sank to his knees and then, still more slowly, keeled over on his face. Thinking he had fainted, a spectator moved to help, but recoiled in horror from what lay before him.

London is abuzz as the beautiful Ray Marcable’s final shows at the West End approach. Before she jets off to perform in America everyone in the city is clamoring to see her once more. The lines wrap around the street and crowds are tightly knit together. One fateful night, just as he is nearing the box office, a man drops to the ground—dead. Although a knife protrudes from his back and there were countless potential witnesses, no one knows the poor man and no one saw who did the deadly deed. It is up to Inspector Alan Grant of Scotland Yard to solve this case.

"The Queue ... has drawn comparisons to Western classics like George Orwell’s 1984 and The Trial by Franz Kafka. It represents a new wave of dystopian and surrealist fiction from Middle Eastern writers who are grappling with the chaotic aftermath and stinging disappointments of the Arab...