Yudi, a freelancing journalist in the city, cruises around Churchgate railway station and picks up a young, Dalit boy outside the men's washroom.

Due to an extended holiday with Yudi to Shravanabelagola to see the naked statue of Gommateshwara, Milind is laid off from his work.

Most of the chapter titles are names of places where important things happen and the narrative can be read as a journey through different spaces.

[4][5] The story is set in what can be called BomGay, a fictional, invisible, queer space where "(homo)sexual explicitness... becomes the foundation for erotic realism" mapped onto the real city.

This queer imagination of the city is nasty and unpleasant, a strategy that Rao uses to challenge oppression and mainstream narratives.

The queer space exists as a mysterious and subversive reality against Section 377, a law that criminalized homosexuality during the events of the novel.

[7] The national and, more significantly, the nationalist frameworks of postcolonial India prolong the colonial production of normative gender and sexuality.

In such a structural duplication of the social norm, reproductive heterosexuality attains legitimacy as the unique, “natural” choice of the postcolonial nation.

Bakshi argues that in doing so, it "produces and reproduces" codes of sexuality and gender that were present in the colonial nation (India before independence).

Indian Islam is considered a result of alien Mughal invasions as opposed to Hinduism whose legitimacy is seen to come from its nativity.

[10] Bakshi sees the construction of a hyper-masculine "Hindu" India as a reaction to colonial feminization, and guerrilla warfare against Muslims as a way of displaying such masculinity.