Jalil quotes one of Chughtai's conversations with Qurratulain Hyder, a friend and contemporary writer in An Uncivil Woman: Writings on Ismat Chughtai, "I am very scared of the grave. They bury you beneath a pile of mud. One would suffocate [...] I'd rather be cremated." As per most accounts, Chughtai was cremated at the Chandanwadi crematorium, in accordance with her last wishes. Following the translation of numerous of her works into English, a renewed interest in the Urdu literature of the twentieth century, and subsequent critical reappraisals, Chughtai's status as a writer rose. Critical reappraisals for her works began with rereadings of Lihaaf, which in the intervening years has attached a greater significance; it was noted for its portrayal of the insulated life of a neglected wife in the feudal society and became a landmark for its early depiction of sex, still a taboo in modern Indian literature. Lihaaf has since been widely anthologised and has become one of Chughtai's most appreciated works. With more of her work being made available for reading to a wider audience over the years, criticism centered around the limited scope of Chughtai's writing has also subsided. In a 1993 retrospective piece, Naqvi also countered the perceived scope of Chughtai's writings, saying that her work was "neither confined to nor exhausted" by the themes central to Lihaaf: "she had much, much more to offer". She separately cited the example of Jangli Kabootar, which was one of the first novels in Chughtai's cannon to explore the theme of infidelity. Naqvi highlighted how despite having established herself as a significant voice in Urdu literature by this time, Chughtai still remained keen on probing new themes and expand the scope of her work. Tedhi Lakeer, which has come to be regarded as Chughtai's magnum opus is now considered to be one of the most significant works of Urdu literature by commentators and various media outlets. Critic and dramatist Shamim Hanfi gives it highest praise, saying that the novel, its first half in particular, matches up to the highest standards of world literature. Hussein comparably calls it one of the best novels of Urdu language and notes that Chughtai combines all her literary influences and her own lived experiences to create a radical text. He likened the novel's framework to that of a bildungsroman and praised its examination of the nationalist and feminist issues of the period. Commentators have