In this month’s issue of Play and Sexuality, Wesley D’Souza recounts the time his school put up a production of The Pied Piper of Hamelin, his preparations for its audition, and how the process was intertwined with an exploration and acceptance of his sexuality.
The circulation of our bodily energies potentially ushers queer futurities. A future that is yet to come, a future in which our bodies will not be imprinted with fear. A future in which newer creative economies of desire, love, and pleasure surround us like the blue waters of the Indian Ocean. I write this brief reflection in hopes of such futures.