KK Correspondence · December 1953

KK Correspondence, December 1953

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KK通信　第十五号
昭和28年12月1日発行

【KK論壇　我が倒錯性　佐久良栄一】

KK通信第十一号のKK論壇で花尻氏が「サディストとマゾヒスト」という題で書いていられることについて一言私見を述べてみたい。先ずこの一文を読んで氏の御意見には原則として賛意を表したい。そしてドS両者の体験を有する私には全く意識しなかった盲点を適切に指摘された感があるが、なお拘らず私が一言したい点が一つある。

羽村京子さんも七月号に信太葵子さんへの一文に「眉間近くからしっかりセーターの胸が盛り上った内づきのよい可愛い女子学生などを見るとサディスティックな息がわくが、私はどちらかといえば明らかにマゾヒストに違いない」と告白されている。私自身も女性的な若い男を行きずりに見かけると思わず「この男を思いきり責めてみたい」という欲望にかられるかと思うと、逆に美しい女性を見ると「この人の脚に踏まれて、あの白い手で握った鞭で気を失うまで打たれたい」と思わずにはいられない。

そんな時には必ず過ぎ去った日がなつかしく思い出されてならない。一体私はマゾヒストなのか、サディストなのか、と考える事も再三でなかった。サドとマゾは表裏一体なのだからそれでいいのだ、と自分自身に云い聞かせているが、然し私がマゾに憧れ、サドに走りたいと思うのは氏の云われる如く「女は暴力でない男を制御したいという欲望が働き、男は暴力ではないところの女の前に屈してみたい欲望心から起るのではないだろうか」という御意見に無条件に一致するかどうかは大きい疑問だと思う。

然しそれは一考の余地ありと感ずるだけであって、全面的に氏の所説を反駁するだけの材料は只今のところ持ち合わせていない。二者のそれぞれの点から出発しているのかも知れない。人間の心の動き、感情の閃めきは理屈一点張りで割り切れるものではない。今後会友諸兄との文通や交際によってサディズム的な立場から或はマゾヒズム的な立場から談じて、更に私の持説を確めてゆきたいと思う。

【或る富豪の告白　マゾヒスト誕生（五）　峰村佐吉】

今迄無垢の令嬢で気品の高い若夫人であった津矢子は、この日から私にとっては一つの完璧物になり下ってしまったのです。私の純情を裏切り、夫に煮湯を飲ました女として当然受けるべき待遇だったのです。私はそれだけの理由で彼女を離婚することは出来ませんでしたが、正直なところ私自身の体面上、離婚早々そういった手荒なことも世間から如何な批評を受けるかと思いまして、彼女の心を責めよう等とは思いませんでした。しかし私の性格的な弱点がこういったショックによって表面に現れてきたといえましょう。

他の競争相手が私達夫婦のことを表面から求めていたとしたら、誰一人こういった精神的な内面生活について想像することも出来なかったでしょう。体面から云って出来ませんでしたし、それとももう一つ正直なところ彼女の肉体そのものについて私の強い執着があったのです。女の心が私に向いているかどうか、それはわかりませんでした。或は私の社会的地位や強い実力に幻惑されて、いやいや眼をつぶってついてきたのかも知れません。

相変らず私の支配下の幾つかの会社は順調な経営状態を続け、全財産の中、大半を堅実な事業形体の会社に注ぎ、投機的ないわば儲けは多いが危険性のある事業には腹心の部下を責任者に据えて、相当の資金を運転して荒稼ぎをやりました。多くの人は私が新しい歓楽に万へ囲まれていると思ったことでしょう。しかし事実はその正反対でありながら、妻・津矢子の妖しい倒錯的な底力に引きつけられていたというのが本当かも知れません。自分の愛していた美しい妻が自らの知らぬ間に他人に盗まれていたとしたらどうでしょう。私はその憤りの心をすぐさま選手交代してゆくような事はしませんでした。慌てなくとも私はゆっくりと手中の妻を自分の好みの方法によって弄ぶことが出来るのです。

[中略なし。以下、誌面の複数段にわたり、妻への嫉妬、支配欲、肉体への執着、制裁を加える想像が続く。数行は印刷が潰れて判読困難。]

【責めの川柳　瀬川静子】
女房の寝巻きで経緯
猟獣は女子を泣いている
生娘のおかげで下女は喜びに逢い
（ほか数句、細字のため一部判読困難）

【新年号発禁顛末記　編集子】

KK通信愛読者諸君におかれては、編集子は新年号以降少し休みなく出しているかとお思いでしょうが、これはそういう意味ではありません。最近新年号をめぐって発禁問題が起りました。編集部としては、ワイセツ性について従来より慎重に考え、印刷前後に検討を重ねています。しかし「ワイセツ」というのは曖昧で、見る人の立場、時代、文化によって判断が違います。

編集子の身分としては、出版法その他の法規に抵触して一部の読者に迷惑をかけることは避けなければなりません。一方、ただ法規に許された限界だけに縮こまっていては、本誌の目的を失います。アブノーマルと犯罪との関係の記事なども、犯罪を助長するためではなく、特殊な性向を研究し理解するための材料として扱うべきものです。読者諸氏にもその点を理解して頂きたいと思います。

[発禁に至る具体的な印刷・検閲経過が続く。一部の語句は不鮮明。]

【悦虐のポーズ】
モデル　川端多奈子嬢
[写真：女性が床上で横臥し、脚を曲げたポーズ]

【会友通信】

本誌十一月号を拝見しました。多く発行されている雑誌の中にこんな珍らしい雑誌があるとは全く驚きました。口絵の写真にも大変興味を持ちました。今月から読者になろうと思っています。私のような女がこうしたことを書いてよいものかと思いますが、女の読者がどのくらいいるのか、また同好の女性がいるのか知りたいと思います。[差出人住所・氏名は一部省略]

私はまだ若い男ですが、正常の交際ではしびれるような興奮が得られません。たまたま本屋で雑誌のページをめくる中、縛られた女が吊り上げられ、猿轡をはめられて喘いでいる写真に目が止り、全身の血が逆流するようなショックを覚えました。自分にも同じような性向があることを知りました。同性に縛られたり責められたりすることにも興味があります。文通できる方がいれば知らせて下さい。

私は「奇譚クラブ」を通してこの世界を知りました。古本・新本の区別なく手に入る限り買い求めています。家庭の美妻にはこういう趣味を知られたくありません。ただ時々、強烈な肉体の刺激の中に深い興味があります。会う時は会い、別れる時はあっさり別れる、そんな交際を望みます。どなたでも結構です。女性の方を希望します。

[ほか複数の会友通信。住所・本名・筆名を含む部分は一部判読困難。]

【女が女を責める（一）】
モデル　板橋美子嬢、和利子嬢ほか
胸とどろかせて待ちに待った十一月某日、七卓[判読不確実]、オートセッションの室をくぐり、男達の写真を撮ったあと、一度は失敗した女同士の「責め」の写真を実現することになった。横向きは胸から腕に綱が喰い込んでいたように見え、細身がいかにも女らしく美しい。写真だけでは表現しにくいが、責める側と責められる側の呼吸やためらいがあった。

【考ぐつわをする女】
鳴山能平画
縄縛といえば必ずしも女が責められるだけではない。彼女たち自身が縄によって、あるいは筋の手法によって、そこに甘美な幻想の世界を描くことが出来る。女性特有の柔らかな曲線が、拘束によって強調される。

【自虐淫楽の一手段　切腹の代用としての注射　萩河太郎（静岡）】

貴誌により、この日本にも私達と同好の方が沢山おられる事を知り、只々感激で胸が一杯です。それは所謂「マゾ」の世界です。私は少年の頃から女性の自虐に関するものを好み、切腹そのものに関心を持っていました。

次に信太葵子さん、編集子殿へ私の自虐の一手段をお知らせしたいと思います。それは刃による若い女性の切腹の喜びを最も近く体験出来る方法として、腹への注射です。私は銘々ビタミンを使用しますが、ホルモンとかその他のものは針の丈が長くなって、しこりが出来ることがありますから、ビタミンが一番よいと思います。

先ず腹部の上部と下部を木綿で縛り、筋肉用の太目の注射針を用います。針を皮膚に当て、最初は皮がふるえる程度に刺し、次に徐々に深く入れてゆきます。切腹同様、皮膚をやわらかく揉み、軽くつまみ、斜めに刺すと感じが違います。自分の肉体へ針が突き入れられるという疼きがあり、切腹の代用として独特の感覚があります。

[後半は写真説明と手順。数行判読困難。]

【くすぐり責め（二）　一見熊保[読みに不確実]】

先頃、京都の浅草劇場で見たバーレスク・ショウに、珍しい「くすぐり責め」の場面があった。モデルの女体を縛り、脇の下や太股のあたりをくすぐる。逃れようとして身をよじる動きが、責めの効果を一層増していた。

また東京のバーレスク・ショウでも、くすぐりによる責めが取り上げられていた。後手に縛り、脚元や脇、喉元などを責める。くすぐりは痛みとは違うが、逃れられない状態では立派な責めになり得る。責めの趣向にはいろいろあるが、これも一つの方法であろう。

【雑報】
特別会員の方、文通希望者への連絡、写真交換希望者、告白手記募集など。

【告白手記を募る】
愛読者の皆様を初め到底表面に表現しにくい体験を、匿名・筆名でもよいので寄せて頂きたい。後世に残る資料として扱いたい。

【女が女を責める（二）】
[写真三点]
彼女がそう云った瞬間、物凄く汗が流れ込み、冷たいのを感じる余裕もなかった。縄で縛られ、柱に押しつけられ、身をよじる。責める女は相手の反応を見ながら、鞭や手を使い、相手が許しを乞うても簡単には止めない。同性同士だからこそ生じる緊張と羞恥がある。[数行判読困難]

【伊呂波仁補遺抄】
[写真三点。本文は撮影姿勢・責め方の補足説明。]
女対女、女対一女、[一部判読困難]

【思出の女　正水拓司】
[モデル　水田雅子嬢。写真三点]

深夜には多かれ少なかれ、自分の胸の奥深く秘めて、折に触れ思い起すことがある。若い時の女、格好がよかった女、そう細細とした記憶が人にはあるものだろう。私の話も飾るほどのものではないが、私生活の秘密に関する一つの思出である。

私は身分の話を飾るつもりはない。若い女の縄の喰い込んだ姿を見た時、忘れられない感情が起った。或る時、遠い親戚から一人の娘が私の家へ来た。田舎の学校を出たばかりの娘で、都会生活にはまだ馴れていなかった。私は彼女を妹のようにも思いながら、次第にその若い身体へ異様な関心を持つようになった。

[彼女をモデルとして見つめる場面、寝具・部屋の描写、束縛への幻想が続く。複数行判読困難。]

【私が艶絵を描くまで　羞恥のヴェールをぬいで②　南川和子】

こんな御立派な御邸のことでしたから、使用人の数も多く、何時も広い庭園や樹木の手入れが行き届き、御福様になられたお婿さん、そして若い奥様の暮しはまことに恵まれたものでございました。しかし、その奥様がころりと腹をこわしてしまわれたことから、奇妙な出来事が始まったのでございます。

お姉様が浴室へ入っていらした時、私は廊下を通り、湯加減を見に行きました。水圧が低い時は断水する家で、熱い湯になったらしく、お姉様は驚いて蛇口の火を消し、ホースを井戸のポンプへつなごうとしていました。私は着ていたケープを脱ぎ捨て、硝子戸を開け、「お姉さん、あたしがうめて差し上げますわ。バケツをお出しになって」と飛び込みました。

「いや、閉めて、いやよッ」と泣き出しそうに悲鳴を上げて身を縮められました。その慌てようといったら、これがお姉さんかと疑うばかりでした。私は更に平静を装って、「早く、お姉さん、そこのバケツをお出しになって」と催促しました。しかしその時、私はお姉さんの身体の秘密のことをすっかり見てしまっていました。

その晩、私はお姉さんに呼ばれてお部屋へ参りました。南向きの八畳の洋間で、窓近くヒマラヤシーダの青い梢が映っていました。お姉さんはピンクのガウンを召され、ベッドのふちに腰を下ろしていられました。私が入ってゆくなり、「和子さん、今日、わたしの身体すっかりごらんになったわね」とおっしゃるなり立ち上って扉の鍵をおかけになり、目の前の椅子に腰掛けるよう命じられました。

私は黙って腰掛けますと、お姉さんは「目に合したのだから、そのお礼にうんといじめてやるわ」とおっしゃって、わたしの背後へ廻られると紫のハンカチで目かくしをされました。作り事ではございません。それに布地のうすいものでございましたから、カーテンを通したようにうっすらと明るいところだけ見えるのでございます。

[以下、身体の接触と羞恥、同性への感情の目覚めを語る。数行判読困難。]

【編集部便り】

KK通信を発刊以来一年有余、目下は基礎建設時代と考えています。毎号確実に皆様のお手元へ届けることを第一目標としております。第十四号が印刷の都合で本誌の発売より多少遅れましたことをお詫びします。本号も所定より遅れましたが、今後は改善したいと思います。

本通信は一般書店には出さず、読者・会員を中心に発行しています。発行部数の漸増に伴い、十一月号は十六頁の増頁を行いました。今後、掲載面の充実とともに内容の充実を計ります。読者諸氏から忌憚のない御意見を多数頂き、その都度誌面に反映して参りました。今後もこういうものを編入してほしいという希望があればどしどしお寄せ下さい。

【営業部便り】
前金制の取扱、予約、増刊号、取扱品目、発送方法などの案内。

【短信往来】
会員増加に伴う通信事務、写真・資料交換、マゾヒスティックな環境についての座談会予定など。

KK通信　第15号
昭和28年12月1日発行
発行人　吉田稔
編集人　篠田京二
発行所　大阪府堺局区内菅原通四ノ三〇　曙書房
定価　二十円

Draft Translation

KK Correspondence, No. 15
Published December 1, 1953

KK FORUM: MY PERVERSION
By Sakura Eiichi

In the KK Forum of issue eleven, Mr. Hanajiri wrote an essay entitled “The Sadist and the Masochist.” I would like to offer a few thoughts about it. First of all, after reading his essay I agree with his position in principle. As someone who has experienced both sides, I felt that he had accurately pointed out a blind spot of which I myself had not been conscious. Even so, there is one point I would like to add.

In the July issue, Hamura Kyōko also wrote to Shida Aoko, confessing that when she sees a cute, feminine student with a sweater rising firmly over the chest from near the brow, she feels a sadistic impulse, although she believes herself unmistakably to be a masochist. I myself can see a feminine young man in passing and suddenly be seized by the desire to torment him with all my strength. Yet when I see a beautiful woman I can just as suddenly think, “I want to be trampled beneath this woman’s legs and beaten unconscious with a whip held in those white hands.”

At such moments I cannot help remembering days that have passed. More than once I have asked myself: am I a masochist, or am I a sadist? I tell myself that sadism and masochism are two sides of the same thing, and perhaps that is enough. Yet I still question whether my longing for masochism and my urge toward sadism can be explained completely by the theory that women wish to control men by a force that is not simple physical violence, while men wish to submit before a woman by something other than physical violence.

I feel only that this deserves further thought. At present I do not possess enough evidence to refute his position as a whole. Perhaps the two tendencies simply begin from different points. The movements of the human heart and the flashes of feeling cannot be divided neatly by reason alone. Through future correspondence and association with fellow members, I hope to discuss these matters from both sadistic and masochistic positions and further test my own ideas.

A WEALTHY MAN’S CONFESSION: THE BIRTH OF A MASOCHIST, PART FIVE
By Minemura Sakichi

Tsuyako, who until then had been an innocent, refined young wife of good breeding, fell in my eyes from that day onward. Having betrayed my pure feelings and made her husband drink the bitterest of draughts, she seemed to deserve punishment. Yet I could not divorce her merely for that reason. To be frank, I also had my own social position to consider. If, immediately after marrying, I had acted violently toward her, I wondered what the world would say. I therefore did not initially think of tormenting her mind.

But the weak point in my own character seems to have surfaced under the shock. If other rivals had looked at our marriage only from the outside, not one of them could have imagined this private inner life. My public position made certain actions impossible, but there was another truth as well: I had a powerful attachment to her body itself.

I did not know whether her heart was truly turned toward me. Perhaps she had been dazzled by my social position and practical power and had simply followed me with her eyes closed. Meanwhile the companies under my control continued to prosper. I placed the greater part of my fortune in stable enterprises and entrusted more speculative, high-profit ventures to trusted subordinates. People probably imagined that I was surrounded by new pleasures. The truth was almost the opposite. I may have been drawn ever more strongly by Tsuyako’s strange, perverse power.

Imagine discovering that the beautiful wife you loved had been taken by another without your knowledge. What would you do? I did not immediately hand my anger over to another person or act in haste. There was no need. I could take my time. The wife already in my hands could be made into the object of my desires in whatever manner I chose.

[Several lines in the scan are too degraded for a reliable continuous transcription. The passage continues with jealousy, possessiveness toward Tsuyako’s body, fantasies of punishment, and the narrator’s gradual recognition that his desire to punish and his desire to submit are intertwined.]

SENRYU OF TORMENT
By Segawa Shizuko

A short group of comic erotic senryu follows. Several lines are too blurred to translate confidently. The poems play on domestic life, women’s tears, torment, and the reversal of ordinary household roles.

THE STORY OF THE NEW YEAR ISSUE’S SUPPRESSION
By the Editor

Readers of KK Correspondence may have wondered whether the editors intended simply to pause publication after the New Year issue. That is not what happened. A problem involving official suppression arose in connection with the New Year issue.

From the editorial side we have always tried to be careful about obscenity, examining material before and after printing. Yet the word “obscene” is itself ambiguous. Judgment changes according to the person looking, the age, the social position of the observer, and the culture in which the judgment is made.

As editors we cannot permit violations of publication law or other regulations to bring trouble upon even a portion of our readers. On the other hand, if we shrink completely inside the narrowest legally permitted limits, this publication loses its purpose. Articles dealing with the relationship between abnormal sexuality and crime, for example, are not printed in order to encourage crime. They are materials for the study and understanding of unusual sexual tendencies.

This is a difficult boundary. The police and censors do not always interpret matters in the same way as editors or readers. What is perfectly ordinary to one person may strike another as intolerable. We ask readers to understand that the task is to continue publishing without surrendering the very subject that makes the magazine necessary.

[The following paragraphs recount details of the printing and censorship process. Several terms and names are too indistinct in the scan for reliable reconstruction.]

POSE OF PLEASURE IN TORMENT
Model: Kawabata Tanako

A photograph presents a woman reclining on the floor with her legs folded, posed to suggest languor, vulnerability, and eroticized discomfort.

CORRESPONDENCE FROM FELLOW MEMBERS

“I have now seen the November issue. Among all the magazines being published, I was astonished to find one as unusual as this. I was especially interested in the photographs. I intend to become a reader from this month onward. I wonder whether a woman such as myself ought to write about such things, but I would very much like to know how many women read the magazine and whether there are women who share these tastes.”

Another correspondent writes that ordinary relationships do not provide the intense excitement he seeks. While turning the pages of a magazine in a bookshop, he saw a photograph of a bound woman hoisted up and gagged, writhing and gasping. The sight produced the sensation that all the blood in his body had reversed direction. He realized that he possessed the same sort of disposition and adds that he is also interested in being bound or tormented by someone of the same sex. He asks for correspondence from people with similar tastes.

A third reader explains that he learned of this world through Kitan Club and thereafter bought as many old and new issues as he could find. He does not want his wife to know of the interest, but he seeks powerful physical stimulation and a discreet relationship in which the partners meet when they wish and separate without complications. He expresses a preference for a female correspondent.

Other short letters ask for photographs, illustrations, accounts of methods of restraint, and introductions to like-minded readers. Several addresses and real names are printed, but portions are too faint to transcribe with confidence.

WOMAN TORMENTS WOMAN, PART ONE

After a much-awaited photographic session in November, the contributors finally attempted a subject they had previously failed to realize: one woman tormenting another. The photographs show a female model being handled and restrained by another woman. In side view, rope presses across the chest and arms, and the narrow lines of the body are emphasized by the restraint.

The text stresses that a photograph alone cannot fully reproduce the atmosphere. There is hesitation between the woman who torments and the woman who is tormented, an awareness of the other’s breathing, and an ambiguity between acting and genuine embarrassment. The female body is treated not merely as an object tied by a man, but as something exposed to the gaze and hands of another woman.

A WOMAN WEARING A THINKING GAG
Drawing by Naruyama Nōhei

The accompanying drawing shows a woman with cloth or rope at the mouth and restraint around the body. The short text observes that rope bondage does not mean only that a woman is passively tormented. Through rope, muscle, posture, and fantasy, the bound woman herself can participate in constructing an erotic scene. Restraint accentuates the soft curves associated with the female body.

SELF-ABUSIVE EROTIC PLEASURE: INJECTION AS A SUBSTITUTE FOR DISEMBOWELMENT
By Hagikawa Tarō, Shizuoka

Through your magazine I have learned that there are many people in Japan who share my inclinations, and the realization fills me with emotion. This is what may be called the world of masochism. Since boyhood I have been attracted to women’s self-torment and particularly to the idea of seppuku.

I would therefore like to tell Shida Aoko and the editor about one of my own methods of self-torment. It is a way of approaching the sensation associated with cutting into the abdomen without actually doing so: injection into the abdomen.

I ordinarily use vitamin injections. Hormones and some other preparations use longer needles and may produce hard lumps, so I consider vitamins preferable. I bind the upper and lower abdomen with cotton cloth and use a relatively thick intramuscular needle. The needle is first placed against the skin. At first I push only enough to make the skin tremble, then gradually drive it deeper.

As with imagined seppuku, the skin may first be softened by rubbing. Pinching the flesh lightly and inserting the needle at an angle creates a different sensation. There is a peculiar ache in imagining that a blade or needle is entering one’s own flesh. For me, this gives a distinctive pleasure that can serve as a substitute for cutting the abdomen.

[The remaining lines give additional procedural and photographic detail. Several words are illegible and are not reconstructed here.]

TICKLE TORMENT, PART TWO
By a contributor whose name is uncertain

At a recent burlesque performance I saw an unusual scene of “tickle torment.” A woman was restrained and tickled beneath the arms and around the thighs. The way she twisted in an attempt to escape made the scene more effective as torment.

I later saw a similar idea in a Tokyo burlesque show. The woman was restrained with her hands behind her and tickled at the feet, sides, and throat. Tickling differs from pain, but when a person cannot escape it becomes a genuine form of torment. There are many possible devices in the art of torment, and tickling deserves a place among them.

MISCELLANEOUS NEWS

Notices follow for special members, people seeking correspondence, readers wishing to exchange photographs, and people asking the editors to introduce them to others with similar interests.

CALL FOR CONFESSIONAL MANUSCRIPTS

Readers are invited to submit personal experiences that are difficult to express publicly. Anonymous or pseudonymous accounts are acceptable. The editors say that such testimony may become valuable documentary material for the future.

WOMAN TORMENTS WOMAN, PART TWO

The photographic sequence continues. At the moment one woman gives the signal, the restrained woman is pressed against a support and made to twist and strain. The woman doing the tormenting watches the other’s reactions and uses her hands and implements to prolong the scene. Even when the restrained woman begs to be forgiven, the torment is not immediately stopped.

The text emphasizes the particular embarrassment created by two women confronting one another in these roles. The scene is neither exactly the same as male domination nor merely theatrical posing. The women’s mutual awareness, hesitation, and bodily proximity give it a different tension.

IROHANI SUPPLEMENTAL EXTRACT

Three photographs provide supplemental examples of positioning and methods of torment. The captions describe changes in posture and the relationship between the woman applying the torment and the woman receiving it. Some of the small print is too indistinct for reliable translation.

THE WOMAN I REMEMBER
By Masamizu Takuji
Model: Mizuta Masako

In the depths of night, everyone must sometimes remember a woman once kept hidden in the deepest part of the heart. A woman from youth, a woman whose figure was beautiful, a face or gesture preserved in fragments of memory. My own story is not something grand enough to decorate, but it is one such private memory.

At one time a young woman from a distant branch of my family came to stay with us. She had only recently left a country school and was not yet accustomed to city life. At first I regarded her almost as a younger sister. Gradually, however, I began to look at her young body with an interest I could not explain.

The sight of a young woman’s body, the line of clothing, the accidental glimpse of flesh, and the imagined impression of rope against the skin began to connect themselves in my mind. I found myself constructing scenes of restraint even while behaving toward her outwardly as a relative and guardian.

[The article continues with descriptions of rooms, clothing, bedding, observation of the young woman, and fantasies of restraint. Several lines are too blurred to translate without inventing wording.]

UNTIL I CAME TO DRAW EROTIC PICTURES: REMOVING THE VEIL OF SHAME, PART TWO
By Minamikawa Kazuko

It was a fine household, with many servants and a broad garden whose trees were always carefully tended. The young master who had married into the household and the young mistress appeared to live in enviable comfort. Yet a strange incident began when the mistress suddenly fell ill with her stomach.

One day my elder-sister-like mistress was in the bath. I passed along the corridor and went to check the water. The house stood on high ground and the water pressure was often low. Apparently the bath had become too hot. Startled, she shut off the heat and tried to connect a hose to the well pump.

I threw off the cape I was wearing, opened the glass door, and rushed in. “Sister, I’ll cool it for you. Give me the bucket.”

“No, close it! No!” she cried, shrinking back with a scream as though she might burst into tears. Her panic was so extreme that I could hardly believe this was the composed woman I knew. Trying to remain calm, I repeated, “Hurry, give me the bucket.” But by then I had already seen the secret of her body completely.

That evening she called me to her room. It was an eight-mat Western-style room facing south, and near the window the green branches of a Himalayan cedar were visible. She wore a pink gown and sat on the edge of the bed. The moment I entered she said, “Kazuko, you saw all of my body today, didn’t you?”

She stood, locked the door, and ordered me to sit in the chair before her. I obeyed. “Since you saw me, I’m going to make you pay for it. I’m going to torment you properly,” she said. She moved behind me and blindfolded me with a purple handkerchief.

This is not something I invented. The cloth was thin, and through it I could still perceive the brighter parts of the room as if through a curtain. My embarrassment was intense, yet along with it came another sensation. Being punished by another woman, and being made conscious of my own body through her actions, awakened an interest that ordinary surface life had never revealed to me.

[Several lines describing bodily contact, embarrassment, and the narrator’s awakening attraction toward women are indistinct in the scan and are not silently reconstructed.]

FROM THE EDITORIAL DEPARTMENT

KK Correspondence has now been published for more than a year. We regard the present period as one of building a foundation. Our first aim is to deliver every issue reliably to readers. Issue fourteen was delayed somewhat because of printing circumstances, and we apologize. The present issue has also appeared later than the scheduled date, but we intend to improve this.

KK Correspondence is not sold through ordinary bookshops. It is distributed principally to readers and members. As circulation has gradually increased, the November issue was expanded to sixteen pages. We intend to continue improving both the amount and the quality of material.

Readers have sent us many frank suggestions, and wherever possible these have been reflected in the magazine. If there is material you would particularly like to see included, please send your requests without hesitation.

SALES DEPARTMENT NEWS

Notices explain advance-payment procedures, reservations, forthcoming special issues, available merchandise, and shipping arrangements.

SHORT CORRESPONDENCE

Brief notices concern the growing number of members, administrative correspondence, exchanges of photographs and documents, and plans for a discussion meeting on masochistic environments and related subjects.

Publication data:
KK Correspondence, No. 15. Published December 1, 1953. Publisher: Yoshida Minoru. Editor: Shinoda Kyōji. Issued by Akebono Shobō, Sakai, Osaka. Price: 20 yen.

Publication Translation

Optional. When this is blank, Publish Translation publishes the current draft. When present, this corrected version is published instead.

KK Correspondence, No. 15
Published December 1, 1953

KK FORUM: MY PERVERSION
By Sakura Eiichi

A WEALTHY MAN’S CONFESSION: THE BIRTH OF A MASOCHIST, PART FIVE
By Minemura Sakichi

SENRYU OF TORMENT
By Segawa Shizuko

THE STORY OF THE NEW YEAR ISSUE’S SUPPRESSION
By the Editor

[The following paragraphs recount details of the printing and censorship process. Several terms and names are too indistinct in the scan for reliable reconstruction.]

POSE OF PLEASURE IN TORMENT
Model: Kawabata Tanako

A photograph presents a woman reclining on the floor with her legs folded, posed to suggest languor, vulnerability, and eroticized discomfort.

CORRESPONDENCE FROM FELLOW MEMBERS

WOMAN TORMENTS WOMAN, PART ONE

A WOMAN WEARING A THINKING GAG
Drawing by Naruyama Nōhei

SELF-ABUSIVE EROTIC PLEASURE: INJECTION AS A SUBSTITUTE FOR DISEMBOWELMENT
By Hagikawa Tarō, Shizuoka

[The remaining lines give additional procedural and photographic detail. Several words are illegible and are not reconstructed here.]

TICKLE TORMENT, PART TWO
By a contributor whose name is uncertain

MISCELLANEOUS NEWS

Notices follow for special members, people seeking correspondence, readers wishing to exchange photographs, and people asking the editors to introduce them to others with similar interests.

CALL FOR CONFESSIONAL MANUSCRIPTS

WOMAN TORMENTS WOMAN, PART TWO

IROHANI SUPPLEMENTAL EXTRACT

THE WOMAN I REMEMBER
By Masamizu Takuji
Model: Mizuta Masako

UNTIL I CAME TO DRAW EROTIC PICTURES: REMOVING THE VEIL OF SHAME, PART TWO
By Minamikawa Kazuko

I threw off the cape I was wearing, opened the glass door, and rushed in. “Sister, I’ll cool it for you. Give me the bucket.”

[Several lines describing bodily contact, embarrassment, and the narrator’s awakening attraction toward women are indistinct in the scan and are not silently reconstructed.]

FROM THE EDITORIAL DEPARTMENT

SALES DEPARTMENT NEWS

Notices explain advance-payment procedures, reservations, forthcoming special issues, available merchandise, and shipping arrangements.

SHORT CORRESPONDENCE

Publication data:
KK Correspondence, No. 15. Published December 1, 1953. Publisher: Yoshida Minoru. Editor: Shinoda Kyōji. Issued by Akebono Shobō, Sakai, Osaka. Price: 20 yen.

Article Summary

This complete December 1953 issue of KK Correspondence, No. 15, shows the bulletin at its most characteristic: part reader forum, part erotic research circular, part confessional network, and part illustrated SM supplement to Kitan Club. The issue opens with Sakura Eiichi’s theoretical reflection on his own alternating sadistic and masochistic impulses, followed by the fifth installment of Minemura Sakichi’s “Birth of a Masochist,” which turns jealousy, marital betrayal, possessiveness, and fantasies of punishment into an autobiographical psychology of masochism.

The issue also records the practical and institutional pressures surrounding early postwar erotic publishing. “The Story of the New Year Issue’s Suppression” discusses obscenity regulation, censorship, and the difficulty of defining what counts as obscene material. Elsewhere the bulletin moves into practical and visual experimentation: female-on-female torment photography, tickle torment, posed bondage photography, a gag illustration, and an unusually explicit reader contribution describing abdominal injection as a self-tormenting substitute for imagined seppuku.

Reader correspondence is historically important because it documents women readers, men seeking same-sex restraint, married readers concealing fetish interests, requests for photographs, and attempts to establish private correspondence with people of similar inclinations. Minamikawa Kazuko’s continuing autobiographical essay is particularly notable for presenting female-female erotic awakening through shame, bathing, exposure, punishment, and blindfolding.

Taken together, the issue provides unusually direct evidence of how a small postwar Japanese SM readership discussed sadism, masochism, bondage, censorship, queer desire, self-torment, and erotic visual culture among themselves rather than through a single editorial voice.

Translation Notes

The PDF is scanned in printer’s imposition order. The intended printed reading sequence is reconstructed as follows: PDF viewer page 1 contains printed pages 1 and 16; viewer page 2 contains 15 and 2; viewer page 3 contains 3 and 14; viewer page 4 contains 13 and 4; viewer page 5 contains 5 and 12; viewer page 6 contains 11 and 6; viewer page 7 contains 7 and 10; viewer page 8 contains 9 and 8. The translation therefore follows printed pages 1 through 16 rather than the left-to-right order of the scanned spreads.

Several names are provisionally romanized because the small type is not fully secure. 峰村佐吉 is rendered as Minemura Sakichi, following established KRP usage. 南川和子 is rendered as Minamikawa Kazuko. 佐久良栄一 is provisionally Sakura Eiichi; 瀬川静子 as Segawa Shizuko; 正水拓司 as Masamizu Takuji; 萩河太郎 as Hagikawa Tarō. These should be checked against KRP authority records.

The historical vocabulary distinguishes サディスト/サディズム and マゾヒスト/マゾヒズム in the period’s sexological sense. 責め is translated as torment where it denotes eroticized infliction, while 縛り and 縛る are translated as bondage, restraint, bind, or tie according to context. 猿轡 is rendered as gag. 発禁 refers to official suppression or banning of a publication. ワイセツ is translated as obscene/obscenity.

The scan is legible overall but contains several passages of very small or degraded type, especially portions of the serialized fiction, correspondence addresses, photo captions, and procedural descriptions. Those passages are explicitly marked rather than silently reconstructed.

Uncertain readings:
- 佐久良栄一 is provisionally romanized as Sakura Eiichi; the preferred reading should be checked against KRP authority data.
- 瀬川静子 is provisionally romanized as Segawa Shizuko.
- 正水拓司 is provisionally romanized as Masamizu Takuji.
- 萩河太郎 is provisionally romanized as Hagikawa Tarō.
- The byline of 「くすぐり責め（二）」 is not fully legible; the visible characters appear to read 一見熊保 or a similar form.
- The model names in 「女が女を責める」 are partly unclear in the small photographic captions.
- Several real names, pen names, and addresses in 「会友通信」 are too small or soft to read with confidence.
- Some senryu in 「責めの川柳」 are too degraded for confident transcription.

Missing or illegible text:
- Printed pages 2–3: several lines in 「マゾヒスト誕生（五）」 are too degraded for a reliable continuous transcription.
- Printed pages 4–5: part of the detailed account of the New Year issue suppression is indistinct.
- Printed pages 6–8: portions of reader correspondence, including addresses, real names, and some short requests, are illegible.
- Printed page 9: several lines in the procedural description of abdominal injection are indistinct.
- Printed pages 10–11: some small captions and explanatory text associated with tickle torment and female-on-female torment cannot be read confidently.
- Printed pages 12–13: several lines of 「思出の女」 are blurred or compressed and cannot be reconstructed without guessing.
- Printed pages 14–15: several lines in the latter portion of 「羞恥のヴェールをぬいで②」 are indistinct.
- Printed page 16: small-print details in the sales and short-correspondence notices are partly unreadable.

Research Notes

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Published: August 8, 2026 at 3:24 PM by Zetsu

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