January 1975 Issue

The January 1975 issue of Kitan Club is organized around a broad mixture of bondage photography, first-person SM reportage, serialized fiction, confessional narratives, cultural commentary, and reader-oriented discussion. The issue begins with “The Point of Contact Between Beauty and Bondage,” an extensive photographic gallery by Tsukamoto Tetsuzō. Its black-and-white and color pages present numerous named models in floor ties, standing restraint, inverted suspension, gags, blindfolds, chest harnesses, and compact body positions. The gallery emphasizes the visual contrast between rope, flesh, domestic interiors, and expressions of discomfort or absorption, establishing photography as a major editorial component rather than incidental illustration. The first numbered feature, “The Beauty of a Modest Housewife,” introduces model Fujita Akiko before Tsukamoto’s long “Holiday of Bluedy.” That camera-and-pen account follows repeated encounters with Yamaguchi Tsuyako, described as a physically imposing and experienced masochistic participant. The narrative combines intimate observation, travel and hotel settings, photographs of bondage sessions, reflections on menstruation and bodily response, and the author’s changing emotional relationship to his subject. Its documentary style makes it the issue’s dominant contribution. The middle portion broadens into fiction, social observation, and personal testimony. Takezako Seiya’s “Man’s Paradise: Cebu Island” presents an overseas setting, while Oniyama Kensaku’s continuing M-Faction social record examines complicated emotional relationships within the SM community. Chiba Seiki’s serialized “Human Eruption” returns to erotic melodrama. Ashikawa Fujio’s “The S-Hospital Incident Record” adopts the form of an experiential account, and Suzuki Yuriko’s essay on loincloths, armpit hair, and related matters shifts toward candid discussion of bodily fetishism. Saji Mazō’s serialized “The Woman Prisoner” combines imprisonment and domination, followed by Shinkawa Hiroo’s third essay on gags. The later section alternates between confession and serial narrative. Konno Kakiharu recounts an “abu-love” history, Saijō Noriyo describes an encounter in Takayama, and the forty-first installment of “The Gate of Purple Orchids” continues the magazine’s period sadistic fiction. “The Aesthetics of Tightness” develops a theoretical approach to constriction and bodily sensation, while Huang Yosaburō’s essay addresses female onanism. Shimizu Toshiaki’s “My Long, Long Day” presents an extended confession, and Takahashi Hideki’s “A Girl of Today: About Keiko” closes the surviving editorial sequence with a contemporary character study. Across these forms, the issue treats bondage as visual composition, personal practice, interpersonal negotiation, confession, fetish theory, and a shared subcultural language.

Title	Author	Printed Pages	PDF Pages
The Point of Contact Between Beauty and Bondage	photography by Tsukamoto Tetsuzō	—	3 –25
The Beauty of a Modest Housewife	photography by Fujikawa Tōichirō; model Fujita Akiko	29	26
Holiday of Bluedy	Tsukamoto Tetsuzō	30–59	27 –56
Man’s Paradise: Cebu Island	Takezako Seiya	60–65	57 –62
M-Faction Social Record, No. 58: Intersecting Affections	Oniyama Kensaku	66–81	63 –78
Human Eruption, Part 75	Chiba Seiki	82–89	79 –86
The S-Hospital Incident Record	Ashikawa Fujio	90–95	87 –92
Loincloths, Armpit Hair, Etc.	Suzuki Yuriko	96–101	93 –98
The Woman Prisoner	Saji Mazō	102–113	99 –110
Gags, Part 3	Shinkawa Hiroo	114–122	111 –119
My Confession: A History of Abu-Love	Konno Kakiharu	123–127	120 –124
In Takayama, Hida	Saijō Noriyo	128–131	125 –128
The Gate of Purple Orchids, Part 41	Fūryū Gokudōken	132–143	129 –140
The Aesthetics of Tightness	Roman-ha Sei	144–150	141 –147
Confession: Feminine Onanism	Huang Yosaburō	151–165	148 –162
My Long, Long Day	Shimizu Toshiaki	166–170	163 –167
A Girl of Today: About Keiko	Takahashi Hideki	171–175	168 –172

The issue is identified as Kitan Club, volume 29, number 1, regular issue number 323. PDF page 1 is the wraparound cover, and PDF page 2 contains publisher advertisements, submission notices, and subscription information. The formal contents occupy PDF pages 4–5, embedded within the opening photographic gallery. Printed pagination begins with page 29 on PDF page 26 and remains three numbers higher than the corresponding PDF viewer page through printed page 175. The printed contents also lists later material beginning on printed pages 176, 184, 194, and 260, but those pages are absent from this PDF and are not included as verified toc_entries. The reading of the author name Konno Kakiharu and the English rendering of the title containing オンパーズム should receive human review.