A digital magazine on sexuality, based in the Global South: We are working towards cultivating safe, inclusive, and self-affirming spaces in which all individuals can express themselves without fear, judgement or shame
Every part of life, the world too, is storied. Stories are the thread that hold histories and truths together. Stories are at the core of myth-making. Everything that we know is part of multiple crisscrossing relational storylines that we raise and those that we have no power in raising.
In our mid-month issue, we have the second part of the Shikha Aleya’s interview with six different people talking about aspects of sexuality and diversity from their own particular space of personal knowledge, as well as work, advocacy, art and activism across diverse fields.
We envision SISA spaces as non-judgmental, inclusive, rights-based and affirming spaces wherein people’s sexuality, their identities, wellbeing, choices, desires and pleasure are respected.
If we are to reimagine coupledom and sexuality, we need to expand and challenge our ideas about togetherness, romance, love, intimacy, desire, sex, attachment, and so on.
Queering transcends the confines of symmetry and is a way of looking, of breaking established meaning, of making new meaning, and of being and becoming that offers us the promise of fluidity, flux and freedom.
Drag is more than a form of entertainment or art form or a form of comedic release, it’s the realization of the fun of being queer or having a queer perspective.
While navigating hook-up culture, we may exercise our agency to express our sexuality but at the same time, may face risks to our safety and bodily integrity as well as obstacles engendered by misogyny, rape culture, heteronormativity, and double standards.
This reconciliation between Pallavi’s public (seemingly) heterosexual and closeted lesbian identities points to a distinctly Indian way of avoiding polarities through a new social arrangement where both identities are allowed the space to flourish.
The story is so well told and is written with such a light, deft hand that it is almost easy to miss what makes it so quietly radical. To review it within the scope of exploring the coming together of literature and sexuality we must begin with its central cast of characters – the widows.
I felt naked in front of everyone when I first came out, and I can’t stress enough how much my male privilege has helped me out here. I don’t even know if people found it serious enough to consider it my identity instead of ‘a mere sexual preference’ or ‘a phase’ (always a classic dismissal).