The decade immediately following the Second World War was a time of the most horrible Stalinist terror. It was the time when Tereza's father was arrested on some piddling charge and ten-year-old Tereza was thrown out of their flat. It was also the time when twenty-year-old Sabina was studying at the Academy of Fine Arts. There, her professor of Marxism expounded on the following theory of socialist art: Soviet society had made such progress that the basic conflict was no longer between good and evil but between good and better. So shit (that is, whatever is essentially unacceptable) could exist only on the other side (in America, for instance), and only from there, from the outside, as something alien (a spy, for instance), could it penetrate the world of good and better.

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