Others played games—checkers or chess or cards—at the outdoor tables of street cafés, and each was vocally convinced that his opponent was the worst kind of cheating lowlife. At one point, I braced myself to witness bloodshed as two chess players shrieked and gesticulated in the most menacing way. Then, to my astonishment, they stood up, mounted the same little donkey, and rode away together.

Each time our cart rounded some corner, my presence drew rapt attention. Groups of arguing men paused and stared over the rims of tiny china cups, or sucked on long tubes attached to smoke-filled glass jars containing water that bubbled with each breath. I felt like a film star with my cloche hat and dark glasses, dressed perfectly for the late-afternoon warmth in a linen dress that stopped at my knees. I fancied that the Egyptian women envied me. Poor things, I thought, sweltering in their robes and veils!

My dragoman pulled onto a lovely boulevard, and the noise receded as his donkey tugged us along its palm-fringed pavement. “The Nile, madams,” the dragoman called out, pointing with his whip. “The Semiramis,” he said a few minutes later.

Sitting on the cart, I caught a glimpse of the hotel’s interior, which made a general impression of polished brass and marble across which teams of energetic bellmen carried hatboxes, toiletry cases, and wardrobe trunks. The Semiramis promised to be every bit as grand as I had anticipated, but the Nile itself? Well, I must admit that the Nile was a disappointment. Given my present situation, the irony is considerable, now that I think of it.

I suppose I expected too much of a river that has been called “liquid history.” Mr. Joseph Conrad wrote that the Nile was an immense uncoiled snake with its head in the sea, its body at rest, curving afar over a vast country, and its tail lost to sight.