"Neela Scarf" can easily be called an interesting mix of stories - some very urban, and some with a very strong rural flavour. Her characters are diverse - from a retired Air Force Officer in 'Mukti' to a teacher in 'Kuch Yun hona Uska'; from a Dalit woman whose job is to serve high and might in "Bisesar Bo ki Premika" to an aimless housewife in "Marj Zindagi Ilaaj Zindagi", they take the readers to worlds and spaces that are completely different from one-another. From a doctor's clinic to a flat in South Delhi to a village in Siwan to an editing suite in Lokhandwala (Mumbai), her stories explore several worlds and several characters.\n\n\nAnu's writing style is lucid and conversational, and therefore dialogues become an integral part of the story. Her writing dwells between popular and literary writing, and carves a niche for itself purely because it is contemporary, and yet not impure. Sometimes she becomes whimsical and poetic (as in "Cigarette Ka Aakhiri Kash" and "Bisesar Bo Ki Premika") and sometimes she chooses to standby the characters to let them narrate his or her stories (as in "Neela Scarf", "Roommate" and "Mukti"). With "Bisesar Bo" she goes on to prove her talent at creating nuanced characters of her own. Whether it is the story of roommates living in a Paying Guest accommodation in Mumbai, or about an indifferent and arrogant man who lands up in a compartment with an old and talkative man, and a woman who wouldn't get up from her berth, Anu's prose feels simple, and yet rich and complete.