[10] Immediately after partition, she worked for two years as a governess to Maharaja Tej Singh (b.1943), the child-Maharaja of Sirohi in Rajasthan, India.

[10] In her old age, when she was past her 70th birthday, she married Dogri writer Shivnath who, by a remarkable coincidence, was born on the same day of the same year as her.

[2] Her ability to adapt dialect and language specifically to the region she is writing about has been praised by critics for lending authenticity to her characters.

[14] In the same year, she also published her famous story about the Partition of India, called Sikka Badal Gaya, which she sent to Sachchidananda Vatsyayan, a fellow writer and the editor of the journal, Prateek, who accepted it for publication without any changes.

Zindaginama: Zinda Rukh is nominally an account of rural life in a village in Punjab, in the early 1900s, but addresses political and social concerns of the time.

"[10] Nand Kishore Naval, a critic, has referred to it as "the most comprehensive, sympathetic, and sensitive treatment of the peasants" in Hindi literature since Munshi Premchand.

[19] Part of the delay was caused by the disappearance of a box of evidence containing original manuscripts of both, Pritam's and Sobti's novels, from the court.

[20] Sobti has since expressed disappointment at the outcome of the suit, noting that her original plan of writing Zindaginama as part of a trilogy was interrupted by the litigation.

Dar Se Bichhadi (Separated from the door of the house), published in 1958, was set in pre-Partition India, and concerned a child born from a marriage that crossed religious and social boundaries.

), in 1966, a novel set in rural Punjab that concerned a young married woman's exploration and assertion of her sexuality.

[21] Scholar and critic Nikhil Govind has said that Mitro Marjani "allowed the Hindi novel to break out of the straitjacket of social realism, or the more stereotyped notions of ‘women's fiction’.

[14] Ai Ladki, (Hey Girl) a more recent novel, narrates the relationship between an old woman on her deathbed and her daughter, who acts as her companion and nurse.

These were compiled and published as Ham Hashmat in 1977, and included profiles of Bhisham Sahni, Nirmal Verma, and Namwar Singh.

"[10] as well as from Sukrita Paul Kumar, who has suggested that the use of a male pseudonym enabled Sobti to write without inhibition about her peers.

[4] The Bharatiya Jnanpith mentioned in the statement that 'the language used by Sobti in her writings is influenced by the intermingling of Hindi, Urdu and Punjabi cultures where her characters are always bold and daring – ready to accept all challenges thrown by the society'.