Unprofitable vital desires
Recognition of a mask
Yukio Mishima
Translation: Iker Alvarez
Igela, 2023
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In the Recognition of a Mask we tell the awareness and the experimentation of the homoerotic desire of the protagonist Kochan. Under the discipline of the last years of World War II, it will create a mask of normality that will make this awareness possible, in which the reader will act from one side to the other. This novel that the publisher Igela brought to the Basque country in June was the second of the post-war Japanese writer Yukio Mishima.
Well, it gives the reader unfiltered access to the back desire of the mask, and that seemed to me the most exciting thing. Smells and pants; young and adult; trying with pictures of naked women but getting warm with those of soldiers and saints; kisses and sexual passions; obsessions and embarrassment; constant desire of the flesh and erotic of pain. The novel makes a detailed erotic literary cartography of the circulation of desire.
The particular scandal to the measure of the Basque world followed Igela little from the publication of the novel, and one could not fail to mention it. Erein, owner of the Rana, decided to cancel the editor's contract. Erein, through misunderstandings, clarified: “It would be the first case that a worker launched in the world decides when the company’s activity remains.” The problem focused, however, on non-compliance with the established profitability targets.
When I read, I thought no, it wouldn't be the first case in the world that workers, even the redundant workers, stop a company. I thought, "Who's going to stop if you're not the worker, how can you imagine that the publisher is not going to go without the editor's work?"
Of course, being the abstract workforce is always replaceable. Remove one worker and put another to do the miracle of profitability. Well, the problem is that that workforce is also concrete. This translation of Mishima is one of those concrete results. It is disturbing that in this Basque Country, translations such as Mishima are as culturally fundamental as economically unprofitable translations.
Adania
Shibli
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