KK Correspondence · May 1954

KK Correspondence, May 1954

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【KK通信 第20号】
昭和29年5月1日発行

【読者論壇　被縛女体の美】
加賀美淳

女性の責めの中で緊縛姿態の美しさというものは、ポーズに変化を求められるというような事は末端的なものであって、最も重要にして且つ最終的なものはSEXに関連するものであろうと考える。即ち、あくまでもマゾヒスティックであることが要求される。絵としての美しさ、絵画的な美、ファンタスティックな美というものも、勿論逃すことの出来ない要点ではあるが、少なくとも被虐趣味の男性にとっては、苦痛、羞恥、陶酔、快楽の表現がないことには洵に不満足という外はない。余りにファンタスティックに走りすぎると、現実から遊離し過ぎて、折角女体に縄を掛けながら、真に迫った感情を受けとれないのは遺憾である。

苦痛表現のポイントを要約すれば、苦痛はあく迄肉体的な苦痛でなければならず、それが為には緊縛による方法が此の際必要である。女体緊縛の際、足首とか、後手、太股、細腰とかをギリギリと括ることは部分的な緊縛で、これでも耐え難い苦痛を与えるものであるが、更に細かく全身にまとわりつく、所謂雁字搦めという縛り方、いえば小包の荷造りの時のようなやり方であるが、これを前記の部分的な緊縛と併用することによって効果を挙げる事が出来る。

最適である。緊縛による苦痛は、集中的な苦痛と全般的な苦痛とに分れるが、この両者を併用することによって一層効果を高めることが出来る。しかも、縛り方は常態より変態であることが望ましい。後手にして柱に縛るという普通の縛り方も決して悪くはないが、より変った方法が苦痛を増すという点で効果的であることは疑う余地がない。片足吊り、海老責め、或はアクロバティック・ダンサーのやる曲芸的なポーズの縛り等は、緊縛美の表現としては最も苦痛を表し得てよいと思う。

手首も紫色に変る程の緊縛、二の腕に廻された細い縄との間はぷっくりと飛び出して、その張りきった皮膚の盛り上りを一寸、針の先で突けば血が噴き出しそうな有様、こういった緊縛感は見る者をして異様なショックを与えるであろう。実際、私は緊縛された女体の美しさというものを、こういう肉体的な苦痛の間に発見するのであるが、従来誌上に発表された論調を読むと、精神的な苦痛、即ち凌辱という方向へ女の責めを持ってゆくのが多かった。そして、それに対する同調者も極めて多い事を知った。従って、この私の一文が、それ等の人達から反駁されるであろう事は想像にかたくない。又、私自身としても理のある所は堂々と処説を述べて批評して頂きたいものだと願っている。女の責めは肉体的苦痛を与えることを前提としていることを述べつつ、拙説に対する反駁を期待する。

【私の宝】
升岡金吉

隣席の女性は私の好む顔立ちをした娘であった。映画、女間者拷問のクライマックス、間者と見破られた美得子の責め場である。後手に縛られて吊り上げられた姿の可憐さ、私の体は刻みに震えてきた。ローソクの熱い流れが、白い足の傷口へしたたる。つうっ……苦悶の声が美得子の口から洩れる。

場内は無人の境を思わせる静けさ、然し何かしら押しつけられるような緊迫感が一杯に漲っている。若いアベックは手を握り合って息をつめている事だろう。サドもマゾも血走らせて画面に釘付けられているであろう。私は隣席を注意した。その娘はこわばった表情で唇を半ば開き、あえぎながら一心に画面に見入っている。

私は嬉しくなった。美人の責め場がこれ程多くの人々の心を捉えているのだ。場内一杯の観客が、自由を奪われ、拷問を受けている婦人の変貌からにじみ出る、異常な美しさに打たれている。緊縛美を求めるのは私だけでは無かったのだ。

映画が終り、人々が席を立った。私はその娘を尾行した。彼女は住宅街の入口で立ち止まり、私を見た。

「何か私に御用ですの？」

彼女はしばらく私を睨み、はっきりした口調で質した。尾行をなじる眼が私をたじたじとさせた。

「失礼しました。貴女が余りお美しいので、ついフラフラとついて来てしまったのですが……どうも済みませんでした。けれど別に僕は不良じゃありませんから、その点だけは信じて下さい。失礼ついでと云っちゃ何ですが、ついでにお宅まで送らせて頂けませんか？」

私は率直に詫びた。

「まあ……フフ……正直な方。でも私の家、ついそこなんですから……」

彼女は私が悪人でないことを認めてくれたのか、怒りもせずにそう答えた。これが縁というものか、以後彼女と親しく交際するきっかけとなった。私は誠に幸福な男になれた。彼女には両親はなく、妹と弟が一人ずつあった。

彼女と付き合ううち親密の度が加わり、例の映画の時、スクリーンのヒロインに我が身を置き換えてうっとりしていたと正直に話してくれ、私の要求にも次第に応じてくれるようになった。

多年の願望が実現した時、私はまことに言い様のない歓喜に酔わされた。現実に私の目の前に、私の手で縛り上げた可憐な乙女が、恥じらいと歓びとに消え入らんばかりの風情で身もだえている。巧まずして描き出される一幅の美人画。両腕を高々と背に上げ、ふっくらした白い滑らかな、それでいてピチピチした二の腕から、美事な隆起を見せている胸、掛けて深い溝を作って食い込んでいる縄は、その女体から発散される特有の芳香と共に、私の心を天国に導いてくれるのだった。

だが人間の欲は際限を知らない。緊縛は彼女の肉体に束縛を与え、マゾの快感を湧き立たせたのであろう。

「もっと、もっと強く縛って……」

彼女は顔に恍惚の色をこめて訴えるようになった。私はありとあらゆる縛り方をしてみた。どんな苦しい縛りも彼女は甘んじて受けた。彼女の肌には縦横に縄の跡がついた。

乙女の大切な肌をこんなにする所業を自分に提供してくれる。私は泣きたい程、彼女の愛情が大きな固りになって胸の底からこみ上げてくるように感じた。今度は別な衝動が湧いた。半裸で縛られている彼女を抱きしめて唇を合した。縛られる事を彼女が承知してから二ヶ月余り、始めて抱きしめ、始めて触れた花の唇、それは甘い香に満ちていた。

彼女は身をくねらせて私の愛撫を受けてくれた。つぶらな瞳にポツンと涙が浮いた。すーっと頬を伝って流れる。何の涙か、私はこの涙によって愛しさが倍加された。責められて、縛られて、泣きぬれた女の姿。かくまで美しいものがこの世にあるだろうか。私は恍惚の境地にある想いで、この美の極致に見とれていた。

【或る提唱】
横田甚三

編集御一同様の御健筆のこと、大いに感謝して居ります。小生の書架には『奇クラ』を既に三十数冊数えるようになりました。先日整理して他の雑誌類は相当屑屋に払下げましたが、『奇クラ』だけは一冊も手離しませんでした。『奇クラ』が読者の欲している豊富な資料を内蔵していることを感ずるからです。この資料性を失う時、同時に一般的な短命雑誌へ転落するのではないでしょうか。

初めに、小生の提唱したき点を二、三申し上げ御参考に供したいと思います。何といっても問題は緊縛に関することです。自展としての範囲に於ける編集方針は、刊誌上に宣伝する良民としての範囲で理解出来ますが、それが真の編集方針であるとは推察出来ませんし、もしそれが正しいと信ずるならば不可解なことと思います。

特殊雑誌である以上、読者の信用を得ることと、読者の志望に応えることは、万事竹竿調の現在では出来ないことは明らかです。幸い編集部に於かれては独自の見解のもとに御活動下さっていることは察せられ心強く思って居ります。

私は読者組織を三層に分けて考えては如何かと思います。第一の層は刊誌の範囲で同好者の入門的な役割。第二の層は『KK通信』正会員組織への足掛り。第三の層は正会員として資料の保管、研究のグループとすることです。

資料は容易に集め難いもので、二、三人の頭で作り得るものではありません。これまで立派に蒐集された資料が発表もされず土中に埋もれてしまうのかと思うと焦燥を感じます。学問的に活用されるために、特別会員中、信用出来る人を選抜し、刊行不能なもの、また発表文中の原文を必要とするものの保管、閲覧、交換が出来るような組織があれば、健全にして円滑な交歓が可能になると思います。

【或る提唱に答えて】
編集子

以前にも特別会員についての御親切な御建議を頂いた事を記憶している。従来個人的に信書を以て御返事申し上げたところであるが、同様の御問合せが多数まとまり、一々御返事する暇もなく、実はこの際本誌上において一括御返事する考えで原稿を書いたのであるが、五月号の横田氏の読者通信に対する回答の如く、当局に対する迎合とか弾圧に対する屈伏、或はそれに対する反抗として、横田氏の言に真面目に応じようと思う。

『奇クラ』に対する資料的な価値を認めて下さったのは有難いし、又私共も本誌の存在価値をそういった方向に見出したいと願っている。表現の問題については、従来『刑法に触れない範囲内』では自由は認められると理解していたのだが、法に触れないものは何でも出来るという訳ではない。

読者層の区分については全く同感である。しかし雑誌として出来ることと会員組織として出来ることは別である。成算のない事をやっても徒らに恥をかくだけだ。資料価値のある投稿、絵画、写真等をどう扱うか、研究資料として如何に保管し活用するかは、今後の課題として考えたい。

【六月号の楽屋裏】

絵のゲラ刷が送られてきた。鶴ることも出来ない。タイトルは共字で入れるためか開けてあったのに活字が入っている。原画は美しいが文である。毎号特色の外国の絵と写真を見るのも校正子の楽しみである。

伊藤晴雨氏の良寛和尚の往生、辻村氏の写真、椅子責め、その他、校正をしながら次号の姿を覗く。誤植は多く、校了前には十分はっきり判るようにして貰うことにしたい。

【時代感覚のずれと和装美】
白金紅次

美事具象から、双多くの文献などから暫らく離れて極く平面的に論議すると、KK通信第十九号の腰巻かパンティかの問題は、その帰着する処、要するに時代に伴う感覚のずれにあると思います。長い間東亜の島国に鎖国の状態で閉じ込められていた日本が、西欧文化との交流もなく、浮世絵を唯一の娯楽とした庶民に、苦しい西洋のパンティを輸入したとしたら、当時の画風も違っていたに相違ありません。

ですから恐らく今更腰巻かパンティかの言論は繰り返されないかも知れません。私は今の読者層、青年層から中大年層への割合ではないかと考えております。

時代感覚のずれは残念ながら否定する訳には行きません。けれども『奇クラ』に発表若しくは告白されている人の中にキモノを中心とするものが依然として残っているのに気付くと同時に、反面を強く意識する者であります。

私はここで腰巻を以てパンティを抑圧しようとは思っておりません。着物についても、パンティについても、それぞれの美がある。写真や絵画は、カメラ技術、印刷技術などによって我々の眼に触れる。客観的、美学的に考えられたものなら、責めらるべきは衣裳そのものではなく表現の技術であります。

私作間、雑誌に発表される小説に附随する挿絵を尊重してその分類と分析を暇に任せてやっておりますが、画一にせよ写真にせよ作者の個性が強く現われており、模倣こそあれ画伯そのもののオリジナリティは少しも変異しないことに気付いている次第です。

和装美の脱衣過程にある最大限が腰巻に在るとしたら、その腰巻を最高度に表現するのが和装美愛好者の主眼でなくてはならない。女性の肉体を緊縛し、客観的にも心理的にも行われんとする動作に呼応して、あらゆる身体の線から美は構成される。複雑体から妖しいまでの男性側の脳裡に妖気を押しつけて止まない或る種のものに、その印象は深き興味を感ぜざるを得ません。

高度の印刷技術を以て表現せんか、その範囲の広い事に有限を見張る訳であります。これに配するに長襦袢、訪問着、お召、帯、伊達巻、帯揚げ、帯締め、襟、足袋などを用いるなら、和服にまつわる一切の美が多角的に検討され得るでしょう。『奇クラ』を中心とする全国の和装美愛好者の皆さんの手によって、和服にまつわる一切の資料が発表され、あらゆる角度から開拓検討されることを望みます。

【ボクの責め方（三）】
宝塚二三夫

時は蒼茫から初夏近く、初秋から紅葉まで、ここに並べる日常茶飯事的なコスチュームと責め。

近く僕の手で仕入れて多美子の館で勤めさす予定の末子、年の頃にスクスクと延びた四肢。早朝のコーヒーを君江の食堂へ。例の予約客、森閑としたサロン、大きく鳴るチークのドア、そして敏捷な手にした君江の水色の事務服に和装白足袋、全く事務的な姿。押出す様に片手で差出した末子。事務服の中へ押し込めた姿は本調子ではない腰巻であるが、紺地に白絹のユニフォーム、スラリと延びた脛を自分自身みつめる様にうつむいて引立てられて来る末子の姿。

『社長さんの事なら』
『どうするってんだい！』
『お株のリンチ、はだしにしてそこへほり出せ！』

次にこの食堂の話を一つ。秋、夕六時の業務終了後。本食堂、君江、照子、正子、鈴子、スピードの四人。両手はタオルやクロスの干物用の紐で後手に縛る。麻縄で、両手首、二の腕、肉の動きを一杯まで締め上げて、立って縄を持つ君江に緊縛させながら、鈴子の事務服の裾をめくり、ズロースを脱がす。全身モチ肌の感覚、縄目の感覚。

君江がそばに居れば、あとの二人の陳列品の前でもぎりぎりのところ。さて才江の番になると、君江の願いで、欠子の太くふくよかな脚を真中にして朋子、正子の両手首を両側に引き付けて締める。三人同様に目を閉じる。足の責め。太いの細いの、色がどうの、大きいの何のと言葉責め。ひねり責め、なめ責め、そして弄り責め。

僕の目を囲ます様に両手で引く時には、女の脚を左右に軽く動かす。ハーモニカ・キッスでガツガツ、ガクガク、ギシギシと、速度をゆるめ、仕上げは舌先。

次に例の事務室である。この三つの引出し、腰両山秩、マガホニー色の大クッション、回転椅子の僕の前。このテーブルの上へ腰掛けさした娘を、背中の縛り手のためガクッと乗せる。プラリと垂れた膝から下、足先までを目の前にして腰掛けつつ弄る。足の弄り責め。太いの、細いの、色がどうの、大きいの何のと言葉責め。ひねり責め、なめ責め、当然弄り責め。

その中で正月元旦、秘密標本の半白足袋を脱がして両足首を縛り、括りつけた時、いつもなら笑っている自分で『堪忍』と待ったを押えたのは忘れられぬ情景の一つ。

次に日常茶飯事的な責めで一紅したのに、初子責め。工場で働く娘、十八位でもう充分な女である。五時過ぎ、唯ひとりで経理事務をしているところへ顔を出した。京風美人のノッペリ顔。途端にペロリンと舌を出して逃げ出す。全く佐賀般な感情で一種の怒りもある顔で笑っているが、『バカッ』と一声で追って出る。スカーレットのセーターに黒のタイツ姿の下へ、工場の中、さらに物置の中へ逃げ込む。既に感づいていて、むしろ愉しんでいる様でもある。僕は一応彼女を捕え、床へ伏せ、責めを開始する。

【五月号迷評】
外山二

出版物の取締に関し厳しく、その是非が論ぜられ、一方に於て現実に数多くの本が一夜の内に店頭から姿を消すという状態の中、少しの猥褻も許されぬ姿勢の『奇クラ』五月号が予定通り出版された。予定通り出るものかと心密かに心配していただけに、手に取った時の嬉しさを一入深く感じた。

内容について。口絵の中では車を曳く小馬が目をひいた。外国誌の紹介であるが、いくら眺めても飽きを感じない。それから同好者が国内ばかりでなく洋の東西を問わず多く居ることを端的に知らせてくれる海外資料も面白い。

読み物では『少年囚獄記』は著者の体験語だけに生々しい感じがあり、自分が傍に居合わせたようだ。『悪の部屋』は双女流作家に一体に話が変っている。テンポが早くてよいが一寸面喰う。『論理発表』その他については、面白いもの、疑問を持つもの双方ある。

毎号のことながら、古今東西を問わず文献を渉猟し、一字一句ごまかせにせず忠実に訳出された珠玉の文学には頭が下る。海外サディズム資料、切腹研究夜話などと共に『奇クラ』の価値を高めている。

【KK会員の方々へ】

ささやかなパンフレット形式のものでありますがKK通信も本号で第二十号を迎えました。線香花火的にやるのは華やかでありますが、地味にこつこつと毎月続けてゆくという事は、こういった機関誌では中々困難なものであります。皆さまの御援助により派手ではありませんが堅実な歩みを続けております。

今後更に会員の皆さまの機関誌としての役目を果すため、KK通信に掲載する読者論議、手記、告白、会友通信、編集に対する御意見、責めのアイデア、写真絵に対する希望、前号の批評、アブノーマル界の情報等、特に全国の新聞雑誌に掲載されたアブノーマル記事について入稿下さるようお待ちします。

KK通信の旧号は第八号迄は売切です。尚第九号は残部僅少、第十号より第十九号迄若干数保有しております。旧号は一部二十円、六回分同封にてお送りいたします。

【伊豆波仁補遺抄　五月号】

本文中の語句、表現について多数の訂正・補遺を掲げる。『吸わせ』『裸に』『陰毛』『全身』『舌』『束縛』『ペニス』『呼吸』『肉体的関係』『股を開い』『濡れた桜紙』『汚れ』『内股』等、多数の頁行指定による訂正文が並ぶ。

【会友通信】

本誌五月号、多大の感激を以て拝読。全身緊縛の女体は見事で、多年の願望を満たされた喜びで一杯である。欲をいえば正面からも見せて頂きたかった。絵の方では縛られた手の表情に注意している。緊縛された苦痛は手にもはっきり表れねばならない。写真にも全裸の処女の羞恥の表情をはっきり出したものを見せてほしい。今後も写真を続けて頂ければ一冊の楽しいアルバムが出来る思いである。

四十七才の者ですが、女が尻を折り曲げて股を露出した洗濯姿のような、肉体の若い女が困惑して、抵抗力のない男に馬乗りになり、渾身の力で首を絞め、または大きな出刃包丁で止めを刺そうとしている様な姿に魅力を感じます。号外まで出た日大生殺しの実際のような絵を発表して頂けませんか。

私はシベリアから復員した四十七才の者ですが、女が尻を折り曲げて股間を露出する姿に強い魅力を感じます。特に男を責める女の姿、そして抵抗出来ない男を女が支配する場面に惹かれます。

私は、毎月『奇クラ』以外の種々な雑誌も購読致しておりますが、各誌共に総天然色写真による責めを発表致しません。何故でしょう。『奇クラ』によって先鞭をつけて頂けないものでしょうか。総天然色写真になれば大いに迫力が増し、ファンの喜びも大きいと思います。

少年囚獄記は、私がサディストですので常日頃よりやりたいと妄想して居った事柄で、大変興味深い記事でした。戦時中の新兵に対する責めを思い出しましたが、絵を見てからは、責めるばかりでなく責められたいという気持も強くなって来ました。責めたり責められたりする相手があれば楽しさ百倍の人生ですね。

【編集部便り】

皆さん、御機嫌如何ですか。花も嵐も踏み越えて新緑爽やかな季節となりました。六月号の完成に追われている間に、花見の頃も昨日の事のようになってしまいました。

予告金は取ったが雑誌は出ない、というようなどこかの雑誌社のようなチャランポランはやりませんから、先々御安心下さい。何号かの発禁に際し、新聞報道には食い違いの多いことを痛感しました。同じ事件を報道した三、四の新聞を見てみると、何時何処で何がという基本となるべきものにさえ相違がある。短時間の間に他を要する報道だからというかもしれないが、そういった記事の誤報に対する訂正をついぞ見た事がない。デタラメを掲載したって読者はどうせ愚民共だから大したことはあるまいという太い神経なのか、同業者だから互いに新聞屋同士の悪事を暴かないのか、何をするかわからない。

ジャーナリズムの誤報を浅感される某先生が自分自ら『事実間違いなく』と筆を押してデマをぶっ放してしまった。六月号誌上で編集長からそれに対して一矢を報いている。又、沼正三君からも某誌四月号発禁の記事について訂正を申入れられている。事実発表になっていないものを、発禁だといわれても嬉しくもないが、『事実間違いなく』などと目に角を立てられるとむかっ腹が立つ。

七月号の予告に一寸誤植があったのでお詫びしておく。足台になった少年の名に関する誤りである。尚、六月号誌上に予告したもの以外に、あるマゾ男の告白、切腹物語、眼帯とマスク等の興味ある告白や小説も掲載する。

男性を責めたくて仕方がないという春日ルミ嬢の全面的協力を得たので、今後のマゾ・フォトは注目すべきものがあるだろう。男性マゾ・モデルを誌上に募集したところ、応募者も現れた。彼女の希望に沿う撮影が始まれば、どのような場面が展開されるか楽しみである。

【編集部便り・写真】
椅子責め（上）
猿ぐつわの中（下）
『縄取されなかった』というのだが本当だろう。現在桃の木である。

【短信往来】

門外不出、秘蔵の日本髪の被縛女性の写真を本誌のため御提供頂いた。

口絵に好評を得た画伯は次々と新しい境地を開拓し活躍中。掲載予定作品についての短報。

男性マゾ・モデルを初めて誌上に募集した。応募第一番は果して誰か。

責め美人の春日ルミ嬢が手ぐすねをひいて男性モデルを待っている。いよいよ撮影開始となれば、どういう場面が展開されるか。

『サジストを自任』している男性から応募があり、本人は正真正銘二十五歳と名乗っている。従って被虐モデルの方も一定年齢の方を希望するという。

言論出版に対する圧迫だ、白い本が読めなくなるからだ、などと騒ぐ者もいるが、珍しい本を見せてくれるなら有難いではないか、という編集部の皮肉な応答。

新聞の誤報、発禁騒ぎ、戦争論などについての短評が続く。

KK通信　第20号
昭和29年5月1日発行
発行所　曙書房
定価一部二十円

Draft Translation

KK CORRESPONDENCE, NO. 20
May 1, 1954

READER FORUM: THE BEAUTY OF THE BOUND FEMALE BODY
Kaga Mijun

When we speak of the beauty of the bound female form within the torture of women, merely seeking variety in the pose is ultimately a peripheral matter. The most important and final element, I think, is its relation to sex. In other words, it must remain thoroughly masochistic. Beauty as a picture, pictorial beauty, and fantastic beauty are of course important elements that cannot be ignored. Yet for a man with masochistic tastes, unless there is an expression of pain, shame, intoxication, and pleasure, the result can only be unsatisfying. If one pursues fantasy too far, the image becomes too detached from reality. It is regrettable to put rope on a woman's body and yet fail to receive any convincing emotion from it.

If I were to summarize the essential point in expressing pain, the pain must above all be bodily pain. For this purpose, bondage is indispensable. In binding a woman, tightening the ankles, wrists behind the back, thighs, or narrow waist until the rope bites deeply is localized bondage, and even this can inflict nearly unbearable pain. But there is also the method of winding rope finely around the whole body until it clings everywhere, what we might call being tied up hand and foot, almost like wrapping a parcel. Combining this with the localized restraints described above produces a greater effect.

Pain produced by bondage can be divided into concentrated pain and generalized pain. By combining the two, one can heighten the effect further. The manner of tying should also depart from the ordinary. Simply putting the hands behind the back and tying a woman to a pillar is by no means bad, but there is no doubt that unusual methods are more effective because they intensify the pain. One-leg suspension, ebi torture, and bindings that assume acrobatic poses of the sort used by dancers are particularly effective expressions of the suffering inherent in bondage beauty.

Imagine wrists tightened until they turn purple, or a cord circling the upper arm so tightly that the flesh swells between its turns, the taut skin seeming ready to spurt blood if touched with the point of a needle. Such a sense of binding gives the viewer a peculiar shock. I find the beauty of the bound female body precisely amid this sort of physical pain. Yet when I read opinions previously published in magazines, many writers seem to take women's torture in the direction of mental suffering, that is, humiliation. I have also learned that this position has many supporters. I therefore have little difficulty imagining that these remarks of mine will be challenged by them. I welcome such criticism where there is reason behind it. My contention is that the torture of a woman presupposes the infliction of physical suffering, and I look forward to objections to this view.

MY TREASURE
Masuoka Kinkichi

The woman sitting beside me had exactly the sort of face I liked. On the screen, a film about a female spy had reached its torture-scene climax. The heroine had been discovered and was being tortured. She was tied with her hands behind her and hoisted up. There was something touching in her helplessness, and my body began to tremble. Hot wax from a candle ran onto the wounds of her white feet. A drawn-out groan of anguish escaped her mouth.

The theater had gone as quiet as an empty wilderness, yet an oppressive tension filled it. Young couples must have been gripping each other's hands and holding their breath. Sadists and masochists alike were surely staring at the screen with bloodshot eyes. I glanced at the woman beside me. Her expression was rigid, her lips slightly open, and she was staring at the picture, breathing hard.

I was delighted. A scene in which a beautiful woman was tortured had captured the hearts of so many people. A whole theater full of spectators was being struck by the extraordinary beauty that emerged from the transformation of a woman deprived of her freedom and subjected to torture. I was not the only man who desired the beauty of bondage.

When the film ended and the audience rose, I followed the young woman. At the entrance to a residential neighborhood she stopped and turned toward me.

'Is there something you want from me?'

She stared at me for a moment and questioned me in a crisp voice. Her eyes, accusing me of following her, made me falter.

'Forgive me. You're so beautiful that I simply found myself following you. I'm terribly sorry. But I'm not some delinquent, so please believe me on that point. Since I've already been rude, may I at least walk you home?'

I apologized frankly.

'Well... heh... you are honest. But my house is just over there.'

Perhaps she decided I was not a bad man, because she answered without anger. Call it fate if you like, but from then on it became the opportunity for us to grow close. I became an extraordinarily fortunate man. She had no parents and had a younger sister and a younger brother.

As our intimacy increased, she confessed that during that film she had imagined herself in the heroine's place and had watched in a kind of rapture. In time she also began to respond to my wishes.

When a desire I had cherished for years finally became reality, I was intoxicated by a joy beyond words. Before my own eyes stood a lovely young woman I had bound with my own hands, writhing as though she might disappear into a mixture of shame and delight. Without conscious artistry, a beautiful picture had been created. Her arms were raised high behind her. Her white, smooth, youthful upper arms swelled beautifully, while rope crossed her body and bit deeply into it. Together with the particular fragrance rising from her body, the sight seemed to carry my heart to heaven.

Human desire, however, has no limit. The bondage must have awakened the masochistic sensation in her flesh.

'Tighter. Tie me tighter...'

She began to plead with an ecstatic expression. I tried every sort of binding I could devise. However painful it was, she willingly accepted it. Rope marks ran vertically and horizontally over her skin.

She was giving me permission to do such things to the precious skin of a maiden. I could have cried. Her affection seemed to become a great solid mass rising from the bottom of my heart. Then another impulse came over me. I embraced her while she was half naked and bound, and I pressed my lips to hers. More than two months had passed since she first agreed to be tied. This was the first time I embraced her and the first time I touched those flowerlike lips. They were filled with a sweet fragrance.

She twisted her body and accepted my caresses. A single tear appeared in her round eye and slowly ran down her cheek. I did not know what kind of tear it was, but it doubled my love for her. A woman tortured, tied, and wet with tears: could anything in this world be so beautiful? I gazed at this ultimate beauty in a state close to ecstasy.

A PROPOSAL
Yokota Jinzo

I am deeply grateful for the continued efforts of everyone on the editorial staff. My shelves now hold more than thirty issues of Kitan Club. Recently I sorted my books and sold a considerable number of other magazines as waste, but I could not bring myself to part with a single copy of Kitan Club. That is because I feel it contains a rich body of material that readers want. If it loses this documentary value, will it not decline into the same short life as an ordinary magazine?

I would like to offer two or three proposals for your consideration. Above all, the problem concerns bondage. I can understand the public editorial policy that must be proclaimed in a commercially published magazine, but I cannot believe this necessarily expresses the publication's full purpose.

Because this is a specialized magazine, maintaining the confidence of its readers and responding to their aspirations are especially important. I therefore find it reassuring that the editors continue to act according to their own point of view.

I suggest that the readership might be divided into three levels. The first would consist of ordinary readers for whom the magazine serves as an introduction to fellow enthusiasts. The second would provide a path into the organization of regular KK Correspondence members. The third would consist of regular members who would preserve materials and form a research group.

Such materials are not easy to gather and cannot be produced from the heads of two or three people alone. It pains me to think that the excellent material already accumulated could remain buried and unpublished. For its scholarly use, trustworthy people could perhaps be selected from among the special members to preserve material that cannot be published, original texts underlying published material, and other documents, making controlled viewing and exchange possible. With such a system, I believe healthy and orderly communication could be achieved.

IN RESPONSE TO A PROPOSAL
The Editor

We remember receiving similarly thoughtful proposals about a category of special members before. Until now we have answered such inquiries privately by letter, but so many similar questions have accumulated that it has become impossible to answer every one individually. We had already been thinking of replying collectively in these pages.

We are grateful that Mr. Yokota recognizes the documentary value of Kitan Club, and we too hope to develop the magazine in that direction. As for restrictions on expression, we had formerly understood that considerable freedom existed so long as the Penal Code was not violated, but it is plainly not the case that everything outside the literal reach of the law can therefore be done without difficulty.

On the proposed division of the readership, we are largely in agreement. Yet the functions of a magazine and those of a membership organization are not identical. Undertaking plans without a reasonable prospect of success merely invites embarrassment. How to handle submissions, drawings, photographs, and materials of lasting documentary value, and how to preserve and use them for research, are matters that deserve further consideration.

BEHIND THE SCENES OF THE JUNE ISSUE

The proof sheets of the illustrations have arrived. There are problems everywhere. Spaces that were apparently intended for titles have been filled with type; although the original art is beautiful, some of the lettering and reproduction need attention. Looking at the foreign pictures and photographs that characterize each issue is one of the proofreader's pleasures.

There is material related to Ito Seiu, photographs by contributors, chair bondage, and much else. Proofreading brings its usual plague of typographical errors, and before final approval we would like everything to be made sufficiently clear that mistakes can actually be caught.

THE GAP IN PERIOD SENSIBILITY AND THE BEAUTY OF JAPANESE DRESS
Shirogane Koji

Setting aside detailed documentary arguments for a moment and speaking on a simpler plane, the controversy in KK Correspondence No. 19 over loincloth versus panties ultimately comes down to a difference in sensibility between generations. Japan spent a long period as an isolated East Asian island nation. If Western panties had suddenly been introduced among common people whose visual culture was formed by ukiyo-e, the resulting pictorial style would surely have been very different.

For that reason I doubt that repeating the argument over loincloth or panties by itself will take us very far. I suspect that the division of opinion corresponds in part to the difference between younger readers and middle-aged or older readers.

The gap in period sensibility cannot simply be denied. Yet when one notices that many confessions and contributions in Kitan Club still center on kimono and Japanese dress, one must also acknowledge the continuing force of the older aesthetic.

I am not trying to use the loincloth to suppress panties. Kimono and panties each possess their own beauty. Photographs and paintings reach our eyes through camera technique and printing technique. If an image is aesthetically unsuccessful, the proper object of criticism is not necessarily the garment itself but the technique by which it is represented.

I have spent some of my spare time classifying and studying illustrations accompanying stories in magazines. Whether drawing or photograph, the personality of the maker appears strongly. There may be imitation, but the individual originality of a real artist does not disappear.

If the greatest visual climax in the process of undressing Japanese clothing lies in the waist cloth, then the task of an admirer of Japanese dress is to express that garment at its highest level. When a woman's body is bound, every line of the body participates in the action, both objectively and psychologically. The resulting forms can press a strange erotic force into the male imagination.

With sufficiently advanced photographic and printing methods, the possibilities are extremely broad. Nagajuban, visiting kimono, formal silk garments, obi, datejime, obiage, obijime, collars, tabi, and other elements of dress can all become part of this investigation. I hope that admirers of Japanese dress throughout the country who gather around Kitan Club will contribute material and explore the erotic beauty of Japanese clothing from every possible angle.

HOW I TORMENT, PART THREE
Hozuka Fumio

From spring toward early summer, and again from early autumn into the season of red leaves, these are ordinary everyday costumes and ordinary everyday forms of torment.

One of the young women is to be brought by my own hand and put to work at Tamiko's establishment. Her limbs are long and youthful. There is an early-morning coffee scene in Kimie's dining room, the familiar drawing room, a large teak door, and a woman in an efficient office uniform with white Japanese tabi. Beneath the businesslike appearance, however, lies the familiar erotic costume of the waist cloth.

'The president?'

'What do you think we're going to do!'

'Our specialty. Strip her feet and throw her over there!'

Another episode takes place after six in the evening, when work in the dining room has ended. Kimie, Teruko, Masako, Suzuko, and the others become participants. Hands are tied behind the back with cords ordinarily used for hanging towels or cloths. Hemp rope is tightened around wrists and upper arms until the muscles can scarcely move. One woman holds the rope while another's office skirt is lifted and her drawers removed. There is the tactile pleasure of smooth skin and the ridged impressions of rope.

When Kimie is present the games approach their limit. One woman is placed between the others, their wrists drawn to either side, all three closing their eyes. Then comes foot torment: remarks about whether the legs are thick or thin, their color, their size. There is twisting, licking, teasing, and handling.

The women move their legs lightly left and right. The so-called harmonica kiss becomes a rhythm of biting, sucking, licking, and teasing, speed increasing and decreasing until the tongue supplies the finish.

Another scene takes place in the office, with its drawers, mahogany-colored cushion, and revolving chair. A bound woman is perched on the table, her dangling legs and feet placed directly before the tormentor. The feet are played with as she sits there. Again there are verbal taunts about thickness, thinness, color, and size, followed by twisting, licking, and other teasing.

One unforgettable New Year's Day episode involved removing white tabi, binding both ankles, and tightening the restraints until a woman who normally laughed through everything finally cried, 'Enough.'

Then there was Hatsuko, an ordinary factory girl of about eighteen, already fully grown. After five o'clock she remained alone doing accounts in the office. When I appeared she stuck out her tongue and ran. She wore a scarlet sweater and black tights and fled from the workshop toward a storeroom. She clearly knew what was coming and seemed almost to enjoy the chase. I caught her, forced her down, and the torment began.

MAY ISSUE: A WAYWARD REVIEW
Toyama Ji

At a time when publications are being subjected to increasingly strict controls and books can disappear from shop shelves overnight, the May issue of Kitan Club appeared on schedule. I had privately worried whether it would actually be published, so I felt a particular happiness when I finally held it in my hands.

Among the frontispiece material, the little horse pulling a vehicle caught my eye. It is reproduced from a foreign publication, and I never tire of looking at such material. Overseas material is also valuable because it shows directly that people with these tastes exist not only in Japan but throughout the world.

Among the prose pieces, Prison Diary of a Boy has a vividness that comes from the author's own experience. One feels almost as though one had been standing nearby. The Room of Evil changes direction sharply and moves quickly, which is effective although initially disorienting. Some of the other arguments and reports are persuasive, while others invite disagreement.

As always, I bow to the labor involved in searching literature from East and West and translating valuable writings faithfully rather than carelessly paraphrasing them. Together with overseas material on sadism and studies of seppuku and related subjects, such work greatly increases the documentary value of Kitan Club.

TO KK MEMBERS

This is only a modest pamphlet, but with the present issue KK Correspondence has reached No. 20. It is easy enough to produce a spectacular flash for a moment. It is much harder for a small bulletin of this kind to continue appearing steadily month after month. Thanks to your support, however, we have continued our quiet and dependable progress.

To make KK Correspondence an even more useful organ for its members, we welcome reader debates, personal accounts, confessions, member correspondence, opinions about editing, ideas for torture and torment, requests concerning photographs and drawings, criticism of preceding issues, information from the abnormal world, and especially reports of unusual subjects appearing in newspapers and magazines around the country.

Issues through No. 8 are sold out. Only a few copies of No. 9 remain, while limited stocks of Nos. 10 through 19 are still available. Back issues are twenty yen each and will be mailed on receipt of payment.

CORRECTIONS AND SUPPLEMENTARY NOTES TO THE MAY ISSUE

A lengthy errata section follows, identifying specific printed pages and lines and correcting words and expressions. Among the corrected terms are passages involving sucking, nudity, pubic hair, the whole body, tongue, binding, penis, breathing, physical relations, spread legs, damp paper, stains, and inner thighs. Because the corrections refer to pagination and line numbers in another publication, their function here is primarily bibliographic and editorial.

MEMBER CORRESPONDENCE

I read the May issue with tremendous excitement. The photographs of women bound over their whole bodies were splendid and fulfilled a wish I have had for years. If I may ask for more, I would also have liked to see them directly from the front. I always pay particular attention to the hands of a bound woman. The pain of bondage should be visible in the hands as well. In photographs I would like to see the embarrassment of a completely naked virgin expressed clearly. If photographs of this sort continue, the issues will eventually make a wonderful album.

I am forty-seven. I am especially attracted to scenes in which a young woman bends forward, exposes her body, overpowers an ineffectual man, straddles him, squeezes his neck with all her strength, or seems ready to finish him with a large kitchen knife. Would it be possible to publish illustrations of that kind? Even scenes inspired by sensational recent crimes would be fascinating to me.

I returned from Siberia after the war and am now forty-seven years old. I am strongly attracted to the sight of a woman bending forward and exposing herself, and especially to women tormenting men. I am fascinated by scenes in which a man who cannot resist is dominated by a woman.

Every month I buy various magazines in addition to Kitan Club, but none of them publishes torture photographs in full natural color. Why is that? Could Kitan Club not take the lead? Full-color photographs would surely have much greater force and delight many readers.

Prison Diary of a Boy was especially interesting to me because I am a sadist and it described things I have often imagined doing. It reminded me of the treatment of young recruits during the war. Yet after seeing the pictures I began to feel increasingly that I did not merely want to torment others. I also wanted to be tormented. Life would be a hundred times more enjoyable if one had a partner with whom one could alternate between tormenting and being tormented.

EDITORIAL NOTES

How is everyone? We have passed through the storms and flowers of spring and have reached the refreshing season of new greenery. While struggling to complete the June issue, the cherry-blossom season has already begun to feel like yesterday's memory.

Some magazines collect advance subscriptions and then fail to appear. We have no intention of behaving in that careless fashion, so please do not worry. At the same time, recent publication bans have again shown how unreliable newspaper reports can be. Compare three or four newspapers describing the same incident and even such elementary matters as when, where, and what happened may differ. Perhaps journalists will say that this is because they must report events quickly, but one rarely sees corrections afterward. Do they assume that readers are fools and therefore accuracy does not matter? Or are newspapers reluctant to expose the errors of other newspapers because they belong to the same trade?

One gentleman who regularly deplores irresponsible journalism himself stamped a rumor with the phrase 'there is no mistake about the facts' and sent it into circulation. In the June issue our editor will answer him. Numa Shozo has also demanded correction of a report in another magazine claiming that its April issue was banned. Being told that something was banned when no such official announcement exists is irritating enough, but seeing the words 'there is no mistake about the facts' stated so pompously makes one genuinely angry.

We should also apologize for a small misprint in the preview of the July issue involving the name of a boy used as a footstool. In addition to the items already announced for June, we expect to include the confession of a masochistic man, a story concerning seppuku, material involving an eye patch and mask, and other unusual confessions and fiction.

Kasuga Rumi, who declares that she wants to torment men, has offered her full cooperation. We therefore expect future masochistic photo features to be worth watching. We have for the first time recruited male masochistic models through the magazine, and applicants have already appeared. Once photographing begins in accordance with her wishes, it will be interesting to see what kind of scenes develop.

EDITORIAL PHOTOGRAPH CAPTIONS

Above: Chair Torment.
Below: Gagged.

Someone claims that the subject 'was not actually restrained.' Is that really so? At present we can only smile at the claim.

SHORT MESSAGES

A reader has provided the magazine with treasured, previously unpublished photographs of bound women wearing traditional Japanese coiffures.

An artist whose frontispieces have been well received is busily exploring new territory. Several new works are already being prepared for later issues.

For the first time we have publicly recruited male masochistic models. Who will be the first applicant?

Kasuga Rumi, a beauty who enjoys tormenting men, is waiting eagerly for a suitable male subject. Once the photography begins, we can only imagine what scenes may result.

One man who describes himself as a genuine sadist has volunteered and claims to be exactly twenty-five years old. The editors joke that a suitably matched masochistic model must therefore also be found.

Others complain that controls on publishing amount to oppression and worry that unusual books will become impossible to obtain. The editors answer with characteristic sarcasm that if someone can show them something genuinely rare and interesting, perhaps all the noise will at least have produced one useful result.

Further short comments mock unreliable newspaper reporting, rumors of publication bans, fashionable war talk, and people who repeat whatever they have recently read without understanding it.

KK Correspondence, No. 20. Published May 1, 1954. Published by Akebono Shobo. Price: 20 yen per copy.

Publication Translation

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

KK CORRESPONDENCE, NO. 20
May 1, 1954

READER FORUM: THE BEAUTY OF THE BOUND FEMALE BODY
Kaga Mijun

MY TREASURE
Masuoka Kinkichi

When the film ended and the audience rose, I followed the young woman. At the entrance to a residential neighborhood she stopped and turned toward me.

'Is there something you want from me?'

She stared at me for a moment and questioned me in a crisp voice. Her eyes, accusing me of following her, made me falter.

I apologized frankly.

'Well... heh... you are honest. But my house is just over there.'

As our intimacy increased, she confessed that during that film she had imagined herself in the heroine's place and had watched in a kind of rapture. In time she also began to respond to my wishes.

Human desire, however, has no limit. The bondage must have awakened the masochistic sensation in her flesh.

'Tighter. Tie me tighter...'

A PROPOSAL
Yokota Jinzo

IN RESPONSE TO A PROPOSAL
The Editor

BEHIND THE SCENES OF THE JUNE ISSUE

THE GAP IN PERIOD SENSIBILITY AND THE BEAUTY OF JAPANESE DRESS
Shirogane Koji

HOW I TORMENT, PART THREE
Hozuka Fumio

From spring toward early summer, and again from early autumn into the season of red leaves, these are ordinary everyday costumes and ordinary everyday forms of torment.

'The president?'

'What do you think we're going to do!'

'Our specialty. Strip her feet and throw her over there!'

MAY ISSUE: A WAYWARD REVIEW
Toyama Ji

TO KK MEMBERS

CORRECTIONS AND SUPPLEMENTARY NOTES TO THE MAY ISSUE

MEMBER CORRESPONDENCE

EDITORIAL NOTES

EDITORIAL PHOTOGRAPH CAPTIONS

Above: Chair Torment.
Below: Gagged.

Someone claims that the subject 'was not actually restrained.' Is that really so? At present we can only smile at the claim.

SHORT MESSAGES

A reader has provided the magazine with treasured, previously unpublished photographs of bound women wearing traditional Japanese coiffures.

An artist whose frontispieces have been well received is busily exploring new territory. Several new works are already being prepared for later issues.

For the first time we have publicly recruited male masochistic models. Who will be the first applicant?

Kasuga Rumi, a beauty who enjoys tormenting men, is waiting eagerly for a suitable male subject. Once the photography begins, we can only imagine what scenes may result.

Further short comments mock unreliable newspaper reporting, rumors of publication bans, fashionable war talk, and people who repeat whatever they have recently read without understanding it.

KK Correspondence, No. 20. Published May 1, 1954. Published by Akebono Shobo. Price: 20 yen per copy.

Article Summary

KK Correspondence No. 20 is a sixteen-page May 1954 club bulletin preserved in eight imposed two-page scans. Read in its reconstructed printed order, it reveals a highly participatory early postwar SM and bondage subculture built around essays, reader confessions, editorial argument, practical fantasies, photographic discussion, criticism of contemporary magazines, and extensive correspondence. The issue opens with Kaga Mijun's argument that the beauty of bondage depends on visibly embodied pain rather than purely psychological humiliation, followed by Masuoka Kinkichi's autobiographical fantasy of meeting a woman through their shared fascination with a cinematic torture scene. Later essays debate the documentary mission of Kitan Club, the creation of a more formal research-oriented membership, generational differences in the erotic appeal of Japanese dress, and the aesthetics of kimono, waist cloths, and Western underwear. Hozuka Fumio's illustrated How I Torment installment offers a sequence of domestic and workplace bondage fantasies centered on women, feet, rope, clothing, and teasing. The latter half of the bulletin contains reviews, errata, a notice to KK members, numerous reader letters requesting stronger bondage imagery and female-on-male domination, and editorial commentary on censorship, inaccurate journalism, publication bans, future photo shoots, and recruitment of male masochistic models. The issue is historically significant for showing bondage culture not merely as a set of erotic images but as a network of readers actively debating aesthetics, technique, terminology, publishing strategy, censorship, gender roles, and the preservation of specialized materials.

Translation Notes

The PDF is scanned in printer's imposition order rather than normal reading order. The reconstructed printed sequence is: printed page 1 = PDF 1 left; page 2 = PDF 2 right; page 3 = PDF 3 left; page 4 = PDF 4 right; page 5 = PDF 5 left; page 6 = PDF 6 right; page 7 = PDF 7 left; page 8 = PDF 8 right; page 9 = PDF 8 left; page 10 = PDF 7 right; page 11 = PDF 6 left; page 12 = PDF 5 right; page 13 = PDF 4 left; page 14 = PDF 3 right; page 15 = PDF 2 left; page 16 = PDF 1 right. The translation follows that printed sequence.

The term 責め is translated contextually as torture or torment, never as blame. 緊縛 is rendered as bondage or binding according to context. 海老責め is retained as ebi torture because it names a recognizable historical/SM posture rather than a generic act of torture. 雁字搦め is translated descriptively as being tied up hand and foot or wrapped all over with rope. 腰巻 refers to the traditional woman's waist cloth or underskirt and is distinguished from Western panties in Shirogane Koji's essay.

The personal-name readings 加賀美淳, 升岡金吉, 横田甚三, 白金紅次, 外山二, and 宝塚二三夫 are based on the visible characters but their exact historical romanizations are not independently established here. 宝塚二三夫 is rendered Hozuka Fumio provisionally, following the form used in existing KRP material, but should be checked against the author authority table. Likewise, the reading of 外山二 is provisional.

Printed page 11 anomalously carries an April 1, 1954 running date even though it is physically part of this May 1 issue and its surrounding material belongs to No. 20. It contains the KK member notice and a detailed errata/corrections block. The corrections consist largely of page-and-line references to another text and are preserved substantively rather than expanded into a speculative reconstruction of the corrected source.

Several reader letters are signed only with initials, locations, or partially indistinct names. These have been translated as correspondence without inventing full identities. A few very small characters in the dense reader-correspondence and short-message columns are difficult to distinguish at scan resolution; where the overall meaning is secure the translation follows the visible context, but uncertain proper nouns and isolated words are listed below rather than silently normalized.

Uncertain readings:
- 加賀美淳: the characters are clear, but the historical reading of the given name 淳 is uncertain; Kaga Mijun is provisional.
- 升岡金吉: the surname and given-name reading are provisional; Masuoka Kinkichi is used here.
- 横田甚三: Yokota Jinzo is provisional; the final given-name character sequence should be checked against a KRP authority record.
- 白金紅次: Shirogane Koji is provisional; the characters are visible but the historical reading is not independently confirmed.
- 外山二: the contributor name on the May issue review is visible as 外山二, but the reading Toyama Ji is provisional.
- 宝塚二三夫: the byline is visible in the issue; Hozuka Fumio is retained provisionally from existing KRP usage, but the reading should be verified.
- The heading rendered as 伊豆波仁補遺抄 on printed page 11 is difficult to read at this resolution; the section is clearly a supplement/corrections list for the May issue, but the exact proper-name reading is uncertain.
- Several abbreviated signatures in 会友通信 on printed pages 12–13 are too small or stylized to establish reliable full names; they are therefore not expanded in the translation.
- One or more women's names in ボクの責め方（三） are difficult to distinguish consistently because similar characters recur in the dense vertical type; the translation preserves the action without forcing uncertain romanizations.

Missing or illegible text:
- Printed page 5 contains several small words in the editorial response and June-issue proofing notes that are blurred in the scan; their general meaning is recoverable, but not every individual character can be transcribed with confidence.
- Printed page 9 contains several proper names and individual descriptors in ボクの責め方（三） that are partially illegible; no unsupported full names have been supplied.
- Printed page 10 has a few small title references in the May issue review that are too blurred to identify confidently; the surrounding critical comments are translated.
- Printed page 11's detailed errata block includes many page-and-line corrections printed in extremely small type. The substantive purpose and representative corrected terms are preserved, but not every numerical reference and isolated corrected character can be guaranteed from the scan.
- Printed pages 12–13 contain dense reader correspondence with several place-name-and-initial signatures and scattered small characters that are not fully legible.
- Printed pages 14–16 contain several very short editorial/news fragments with blurred proper names and titles; uncertain names have not been silently invented.

Research Notes

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Status: Published

Published: August 10, 2026 at 8:16 PM by Zetsu

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Public URL: https://krp.kinbakutoday.com/issues/358/articles/4327/read