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Ismat Chughtai’s 1941 short story, Lihaaf, is often perceived by both scholars and critics as an intrepid example of radical feminist politics. onsidered the grand dame of Urdu fiction, Chughtai was one of the Muslim writers who stayed in India after the subcontinent was partitioned. Ismat's work stands for the birth of a revolutionary feminist politics and aesthetics in twentieth century Urdu literature. “The Quilt” centers around two women: Begum Jaan, the wife of the wealthy, upper-class but religiously devout Nawab Saheb, and Rabbu, one of the maidservants working in the house. The narrator of the story comes to term with her own sexual awakening as she witnesses how Begum Jaan, who was initially “frail…wasted away in anguished loneliness,” due to neglect of her uncaring husband, is soon revived under Rabbu’s attention: “her thin body began to fill out, her cheeks began to glow, and she blossomed into beauty ”. The young girl’s confused, yet fascinated, recollections of the nightly movements of Begum Jaan’s mysterious quilt becomes a construct between “imaginings of pleasant satiation and grave danger, to the point where she stands on the threshold of forbidden knowledge”.