Summary
KK Correspondence No. 17, issued February 1, 1954, is a compact but unusually rich bulletin devoted to unconventional sexuality, bondage, masochism, erotic photography, and reader exchange. The opening essay, My Sexual Predilection by Sugawa Tsutomu, is a reflective first-person account of the author's developing attraction to domination, physical restraint, and sadistic fantasy. Rather than presenting these interests merely as scandalous curiosities, the piece situates them within memory, adolescence, fantasy, and individual psychology. This confessional mode establishes the issue's broader editorial identity: personal testimony is treated as a legitimate way to discuss abnormal or marginal sexual desire.
The issue then moves through several contrasting genres. An anonymous contribution on fantasies involving an older woman is followed by The Water of Enchantment, which explores erotic obsession and bodily fascination in a more literary style. Yamaguchi Haruyuki's Techniques of Abnormal Love shifts toward quasi-analytical commentary on unconventional sexual practices, marital dissatisfaction, prostitution, fetishism, and erotic experimentation. The text is accompanied by an illustration of a bound woman, reinforcing the bulletin's habitual interplay between discussion and visual fantasy. Inoue Ken's Recollections looks backward to earlier erotic and bondage imagery, recalling visual material encountered in youth and connecting it to later adult interests.
A recurring centerpiece is Takarazuka Fumio's My Way of Tormenting, Part 9, which combines autobiography, erotic domination, and a photographic image of a woman posed outdoors. The following pages include the supplement to Iroha Jin, a multi-figure illustrated feature titled Several-Person Training Picture, short correspondence, and the seventh installment of Minemura Sakichi's The Birth of a Masochist. This extended confessional narrative traces desire through marriage, jealousy, humiliation, domination, and the binding of a woman, presenting masochism as something experienced psychologically as much as physically.
The issue also contains unusually explicit practical and visual material. Several-Person Training Picture depicts groups of restrained and gagged women, while later pages explain the second Beautiful Binding album through a numbered catalog of thirty-two poses and techniques. The final full-page photograph reproduces one of these staged bondage images. The closing Editorial Department Notes discuss future photographs, serialized writings, reader submissions, sadomasochistic material, and the magazine's ongoing effort to build a distinctive collection. As a whole, the issue reveals KK Correspondence as an early postwar erotic network in which confession, technique, photography, theory, and reader participation all feed into one another.
Highlights
Sugawa Tsutomu's My Sexual Predilection opens the issue with a candid autobiographical account of developing attraction to domination, restraint, and sadistic fantasy, framing these interests through memory and personal psychology.
Sexual autobiography
PDF 1
The Water of Enchantment presents erotic obsession and bodily desire in a literary mode and is accompanied by a photograph of a woman restrained with dark straps or rope.
Erotic fiction and photography
PDF 3–4
Yamaguchi Haruyuki's Techniques of Abnormal Love discusses unconventional sexual practices, marital dissatisfaction, prostitution, and erotic experimentation, placing individual desire within broader social and psychological commentary.
Inoue Ken's Recollections connects childhood and adolescent encounters with bondage imagery to later adult erotic interest, offering a valuable memoir of the visual formation of fetish desire.
Takarazuka Fumio's My Way of Tormenting, Part 9 continues the recurring autobiographical series and combines personal erotic narrative with a photographic bondage pose.
Several-Person Training Picture presents illustrated scenarios of multiple restrained and gagged women, shifting the issue from personal narrative into explicitly staged fantasy and group restraint imagery.
Minemura Sakichi's The Birth of a Masochist, Part 7 continues a first-person psychological narrative of marriage, jealousy, humiliation, domination, and sexual compulsion.
The second Beautiful Binding album is explained through a numbered list of thirty-two bondage poses and techniques, ranging from crotch binding and ankle restraint to standing ties, inverted positions, suspension, and group arrangements.
A full-page photograph from Beautiful Binding, Part Two shows a seated woman being restrained by another woman, emphasizing staged rope technique as a central photographic subject.
The final Editorial Department Notes discuss future serialized material, reader submissions, photographic plans, sadomasochistic content, and the magazine's effort to build a distinctive erotic collection.
This issue has no formal printed table of contents.
KK Correspondence No. 17 contains no formal printed table of contents. It is structured as a sixteen-page correspondence bulletin in which essays, memoir-like narratives, reader material, photographs, illustrated bondage studies, and editorial notices appear sequentially under individual headings.
Analysis Notes
The masthead identifies the publication as KK Correspondence No. 17, issued February 1, 1954, at a price of 20 yen. Alternating page headers show April 17, 1953, which refers to the third-class postal authorization rather than the publication date. Several contributor-name romanizations are provisional: 須川勉 is rendered as Sugawa Tsutomu, 山口晴行 as Yamaguchi Haruyuki, 井上賢 as Inoue Ken, 宝塚二三夫 as Takarazuka Fumio, and 峰村佐吉 as Minemura Sakichi. The recurring title ボクの責め方 is rendered My Way of Tormenting, with 責め understood in its erotic SM sense. The phrase 異常性愛テクニック is translated as Techniques of Abnormal Love in keeping with the period's terminology rather than as a modern diagnostic category. The Beautiful Binding material on pages 14 and 16 enumerates thirty-two poses; some pose names and contributor attributions are small and partially difficult to read, but the overall structure is clear.