As much as the 25th January 2011 Egyptian revolution brought hope and inspiration to large sectors of the population, culminating in the stepping down of Hosni Mubarak who hailed from the military establishment, the defeat of the people’s dream in social justice, freedom and dignity in the period following the revolutionary euphoria was indeed crushing. I argue that this sense of horrific defeat has instigated a current of dystopian novels and literary visions which illustrate crime from multiple angles. We can trace this trend in novels produced by such writers as Ahmed Khalid Tawfiq, Ahmed Mourad, Nael Eltoukhy, and Basma Abdel Aziz. These writers have portrayed crimes committed against people’s bodies (torture, murder and imprisonment), against land and the environment (destruction of natural resources), and against society (family and social relations) in the context of the triumph of the counter-revolution which has reinstated forcefully the military regime at the top of the state apparatus. My paper aims to set in a comparative context the analysis of three prominent novels which have acquired a large readership and critical attention, namely: El Singa (The Knife) by Ahmed Khalid Tawfiq (published in 2012); El Tabour (The Queue) by Basma Abdel Aziz (published in 2013); and Nisaa’ al-Karantina (Women of Karantina) by Nael Eltoukhy (published in 2013). I aim to approach this theme through a feminist lens which considers the significance of gender constructions within dystopian fiction that reflects on crimes and violence committed against women’s and men’s bodies with the purpose of paralysing dissent against the authoritarian/patriarchal order. These fictional crimes, which target the body to destroy the soul and the revolutionary spirit, convey new meaning about post-2011 Egyptian society, thus blurring the lines between fiction and reality. The narratives also provide us with new literary aesthetics, steeped in socio-political commentary on crime and violence. Their authors situate the events in urban areas so as to dissect the cityscapes and the ways in which the characters shape the cities they live in.