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Kitan Club · November 1962 Issue

Summary

The November 1962 issue of Kitan Club presents a broad mixture of staged bondage photography, fetish illustration, experiential narratives, serialized fiction, costume and equipment commentary, historical fantasy, reader testimony, and community-oriented closing departments. Its visual identity is established immediately through several gravure sequences. The first photographs move from restrained women in kimono or dark clothing to cloth-gagged models, exposed torso harnesses, bed scenes, and tightly composed close-ups. A central illustrated gallery expands the issue’s imaginary geography through scenes of political interrogation, wartime suicide, ritual abdominal cutting, chair and platform restraint, foot worship, and branding. A second photographic sequence shifts between domestic interiors, outdoor kimono bondage, cloth gags, and compact kneeling or folded positions.

The numbered prose section opens with Shibari Toshikichi’s experiential fiction “The Inn of Pleasure and Cruelty,” a multi-episode account organized around encounters with women, drinking, coercion, and staged restraint. Yoshino Mayumi’s “Notes of a Gun and Bondage Maniac: Conversations at My Bar” uses reported conversations and anecdotes to document fetish collecting, illicit imagery, and subcultural talk. Tsujimura Takashi’s feature on the appearance of model Mizumoto Shigemi combines photography, editorial observation, and a detailed account of a bondage session, including changes of costume, rope placement, posing, and the model’s reactions. The autobiographical “Temptation of the White Nape” follows with reflections on attraction, factory life, marriage, and a young female worker.

The middle portion alternates among film commentary, the serialized “Woman and Snake,” a biographical or confessional chronology of blind love, equipment experiments, descriptions of women’s underwear usable in sadistic play, and speculative travel writing. Longer fiction occupies a substantial share of the issue, especially “Somewhere in the Universe,” which supplies an extended fantastic narrative, and “The Woman on the Auction Block,” framed as a white-slavery fantasy. Shorter confessions and case histories examine corrective corsets, innocence transformed into cruelty, marital identification, ritual suicide, and historical women facing violence or death.

The final major literary sequence includes the nineteenth installment of “Thirty-Nine Nights,” a short invitation to shared play, confessional reflections, and an illustrated survey of punishments around the world. The back matter contains correspondence, reader submissions, questionnaires, book and magazine notices, classified exchanges, editorial commentary, publication data, and advertisements. Together these departments reinforce Kitan Club’s identity not merely as a collection of fiction and images, but as a participatory subculture in which readers exchanged techniques, fantasies, personal experiences, criticism, and contact information.

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