IQBAL HASAN’S PAINTING of a young woman sitting on a chair with an older woman standing beside her makes for the cover of Anuradha Marwah’s third and latest novel Dirty Picture. As a reader and someone who has seen these paintings in a plush Lahore restaurant called The Cuckoo’s Den, incidentally located in the heart of the city’s red light area, I immediately identified it as one of several painted by the artist to document the lives of prostitutes in this area. Most locals are shy of admitting to the existence of prostitution in the city. For them, the red light area in the forted city still has certain mujra performances by ‘artists’ and nothing else. The painting illustrates in brush strokes what Anuradha Marwah documents in words – exploitation of women and the lower classes through a deep-rooted mechanism of inequitable gender constructions often obfuscated by ill-disguised hypocrisy.
The novel has been read as a fictionalised documentation of the Ajmer Sex Scandal of 1992. However, Dirty Picture, tracing the personal narratives of two sisters Reena and Bharti, uses the incident as a site to critique exploitation at the levels of gender and class.
