{
    "export_format": "krp_article",
    "export_version": 1,
    "exported_at": "2026-09-29T20:02:48+00:00",
    "magazine": {
        "id": 3,
        "title": "KK Correspondence",
        "slug": null
    },
    "issue": {
        "id": 359,
        "title": "July 1954",
        "slug": null,
        "issue_date": "1954-07-01T00:00:00.000000Z",
        "original_filename": "195407_21.pdf",
        "pdf_page_count": 8
    },
    "article": {
        "id": 4167,
        "toc_entry_id": null,
        "sort_order": 0,
        "title": "KK Correspondence, July 1954",
        "author": null,
        "printed_page_label": "Complete issue; reconstruct printed reading order",
        "pdf_page_start": 1,
        "pdf_page_end": 8,
        "original_language": "Japanese",
        "original_text": "【KK通信 第21号／昭和29年7月1日発行】\n\n【読者論壇】\n最近の新聞ジャーナリズムの好個の材料として、風俗雑誌という名の下に出版物の性犯罪に対する影響を過大に取り上げられた感がある。私は本誌の一愛読者として、必ずしも公平な見方をしているか、どうかその点は疑問ではあるが、少くとも、冷静に考えた私自身の判断からすれば、功罪何れが大であるかと云えば、蹉躓なく「功」の方が圧倒的に大であると答えざるを得ない。嘗て、伊藤晴雨氏が「責め芸術」の持つ目的として、赤裸々に暴露されるべき人間本能の緩衝地帯としての役目を述べられた事があったが私も全く同感である。\n\n【言論圧迫と逆コース／村雨晴夫】\n此の種出版物は一冊といえど印刷するを許されなかった戦争中にこそ、性犯罪が最も多発生した事実を思い合せれば、性犯罪の横行は、単なる雑誌の影響といった末梢的なものではなく、その根本には「あらゆるものゝ貧困」に原因する癌性的症状のあらわれである事は疑いをいれない。\n\n貧困の最も大なるものは、社会的には「政治の貧困」であり、個人的には「愛情の欠乏」である。買収、贈収賄は自然茶飯事と化し、選挙に暴挙をやつす。第一、政府が率先して憲法を蹂躙してお手本を示すという世紀末的世相の時代に於て、人間の愛情からさえ放逐された者は一体どうなるであろうか。世の識者と称する人達は、彼等の破廉恥的行為をますます増長させるだけでなく、社会的圧迫によって人間本来、生れながらにして、斯の如きあらゆる犯罪を行うべき条件を保有している。そしてこれを突然に防圧するものこそフロイドの説をとく迄もなく、昇華によってこそ、その崇高な役目を果されるのであって、此種出版物は極めて貴重な存在価値を有するという事が云える。\n\n大東亜民族の盟主という美名の下に簒奪の軍閥が、如何に暴虐と略奪の蛮勇とを、無辜の良民と大東亜の諸民族の上にふるい来った事か、今にして私達は、彼等の破廉恥的行為をますます増長させざるを得ない。彼等こそ、人類の敵であり、日本人の恥さらしである。然るに、近々十数年の過去の悪夢を忘却出来る程愚かでは、今にして、再び同じ見えざる暴虐の網を、はりめぐらされようとしているのではないか、そんな気がする。気の弱い、お人よしの大多数の善良な人達よ、彼等の巧みな言動に惑わされないでおこうではないか、そして、戦時中の破廉恥・横暴を想起して糾弾しよう。\n\n【或る耽美主義者の夢／岡田芳夫】\n私が「美しき縛しめ」を愛取って、その素晴しさを一、俺に“芋虫”観念など何度も飽かずに眺めながら日頃私の考えている責め場をアルバムに出来たらと考えました。以下は私のアブノーマルなファンタジーを、架空のモデル嬢に語らせた「美しい縛しめ」第二集の方が適しているかも知れません）の説明です。\n\n〔写真キャプション〕浅野末乃嬢の豊満なバック・スタイル。\n\n“美しき縛しめ”第三集のモデルになって呉れと頼まれた私は喜んでそれに応じました。縛られ責められる事、それはマゾの私にとってこの上なき楽しみなんですから……。でもこん度は写真を御覧になれば判るように、随分苦しい目、恥しい目にあいました。でも何とも云えぬ様のない快感を味う事が出来ました。私のいろいろのポーズを御覧になり乍らお読み下さい。\n\n（第一葉）責め準備\n何時もの私がスロースを脱いでしまってから、縄をかけてもらうのですが、今日はまた下ばきをとらないうちにその場へ押し倒されて両の腕を後へ捻じ上げられ縄をきりきりと締められました。そしてもう一人の人にスロースを取られたのです。全裸になる事は覚悟の上なのですが、他人に下ばきを脱がせられる辛さ、その羞恥が自分にどう表れたと思っているのか、両手首を縛った縄はやがて首へ、二の腕、そして胸へと喰込んで行くのであります。\n\n（第二葉）芋虫\n両手小手――もうこれだけでは物足りません。縄尻は更に下腹部を一巻きしたかと思うと、今度は下へ延びて丁度縄をした様な格好に締め上げられました。九月号の“縛られた女”ばりの窒息姿となったのです。そして写真の様な姿にされたのです。私の前へは細く結んだ麻縄が正面から延びています。\n\n（第三葉）〔題字判読やや不確か〕\n横向きにされて後から両手の辺にピンと張った縄を噛えさせられ、細目が痛々しく喰入っているところを撮られたものです。\n\n（第四葉）ローソク責め\nローソク責めというと単にローソクを立てるだけでなく、恥しさ、苦しさを同時に味わせようとしたポーズだそうです。私は柱に頭を下にして手を縛りつけられたかと思うと、足首をきつく二つに割かれ、下腹部がぐっとすからたまりません。第六葉はこんな私を正面から、第七葉は俯伏せられて撮られたものです。\n\n（第五葉）海老責め\n柱から解かれてホッとしたのも束の間、今度は両股を開けるだけ開かされて、足首を柵の棒に縛りつけられました。そして首に縄をかけられたかと思うとその縄尻から前へ通し、後手に縛りつけられたのです。尻の肉を責めつけるのでした。\n\n（第六葉）逆海老責め\n前が終ったら今度は後反りにされました。足首を重ねて縛った縄が背中を通して首へかけられたのです。そして締められるだけ締められたのですからたまりません。下腹部がぐっと前へつき出ました。第六葉はこんな私を正面から。\n\n（第七葉）逆海老責め\n〔第六葉の継続。後手と脚を連結して強く反らされた姿。〕\n\n（第八葉）木馬責め\nこれはもう説明の必要もありますまい。吃立した三角形の頂点は〔判読不明〕へ喰入るのです。十四貫というボリュームのある自分の肉体がうらめしくなる程の痛さ……。その痛さを少しでも柔げようと身をよじろうとしても前後にビーンと張られた縄は身をもがく事を許さないのです。苦痛にゆがんだ私の顔を見て下さい。\n\n（第九葉）括り猿\nやっと後手から解放されたのですが今度はよいよ吊し責めです。最初は手足を一緒に縛りつけられそうそうと体がくるくる廻るので伸々写真はとれず、やっと静止したところをとられました。\n\n（第十葉）逆さ吊し\n前が終ったら今度は吊し。左手広合の小さな穴から縄を通して吊り上げられました。左右の体が一分の間だった様な気持がして……本当に貴重な写真なんですよ。\n\n（第十一葉）逆し吊し・ローソク責め\nこれこそ好きになればやめられない芸当です。両股を開けるだけ開かされたまま逆さ吊し、そして、ローソクを立てられる……。考えただけでもゾットならわれる。たった一枚だけでこのアルバムの使命は充分と云うところだと思います。\n\n（第十二葉）きるぐつわ\n今でも私の体に残っているのです。このさるぐつわは御覧の通りスローズです。私自身のものでしたが、下ばきの（而も異性のものであれば）さるぐつわこそ凌辱の極致と申せましょう。上半身だけでしたので敢て乳房の上にも荒縄をかけられ緊縛感は一層強められていると思います。\n\n【相責めと女斗美】\n本誌七月号の口絵以来「縄を用いない責め遊戯」として、サド・マゾの両方の女性をモデルとして、新しい責めの写真数十枚を撮影して来たが今回、女斗美（メトミ）研究の第一人者佐藤四郎氏から、一方的な責めでなく互いに責めあう、即ち「相責め」という趣向を進言されてきた。因に、目下氏の養成されているオトマーズの中で昨年の本誌十月号に「闘相撲」として出場した矢島山順子さんが最も優秀だそうである。\n\n【藤見氏の気の弱いサディストについて／渡辺乃介】\n本誌七月号の巻頭に発表された藤見氏の「ロマンチックなサディズム」を読んで、氏と同じサディストとして私も同感の感を抱いたものでありますが、藤原氏の弱々しき気の弱いサディスト云々なる言葉が、私にはなにかぴったりと云々合わぬ点があります。それは各人各人の個人差に属する事で、同氏の告白文中に述べていられる如く、かるい意味でのサディズムといえば、同氏の言葉をそのままかりると「妙子……妙子……」耳もとでやさしく呼ぶと「うん？」といってあどけなく私の顔をみあげるのです。「もう帰らないよ、もう絶対に……こんな可愛い君を放せるもんか。帰らない……帰れないように手と足を縛って置こうかな」私はやさしくこういうと、腰紐で妙子の両手を後手に縛り、足も又、固くなくゆるくなく縛りあげるのです。\n\nとあるように一人の女性を自分の思うままにするというサディストの独占慾と、私には考えられる。一方、表情や身体全体で言葉以上に物語る事が出来るというように、女性の肉体を明るく美しく描写されたと思うが、やはりサディズムという心境は相手方に何等作用の肉体のあらゆる部分にわたり機能と効果を最大限に動員すべく、例えば〔固有名不確か〕氏が「悦虐回想録」の中で述べていられるように、怪奇な性的創意の秘密を語るには敢て渾身の勇気を振って告白をされたとの、あの作品中のクライマックスともいうべき処を再び藤見氏の言葉をかりうけて言うならば「フフ……こうすれば相手も……」私は苦痛に歪んだ女の顔を眺めて喜ぶような残虐趣味とは異なる、といった論旨である。\n\n私の姿――。もう一つは終り頃に彼女が羞恥に身を捩じる私を無理無理に押さえつけた様にヒモの細縄で縛りつけ、彼女は、そのヒモの細縄の長さのびた他の一端を手にすると、やおら私を引立てるのである。早速私はそれを〔判読不明〕「さあ図々々して下さい」といった調子で責められる場面などについて論じている。\n\n男性のマゾヒストと女性サディストのあまり処のない告白が情景と共によく描写されている点において、私はこの方の勇気ある発表に目をみはったのです。以上で始めにもどりますが気のすむままに苦痛を与えてもそれが双方の異る表情と苦痛のうちたえたかたに尚一層の興味が湧きます。同氏の云々しておられるサディズムを求めての戯画に、責め写真に女性に対する方法は、いたづら私ではありますが全く同感です。私の絵を二、三部編集部の方へ送っておきましたが文章の方も前文のように描いたのですが「誠意」と「奇説グラフ」を通じてのサディスト、いや私の弱いサディストだと思います。\n\n【本誌伏字考】\n戦時中の誰やらさんが獅子吼した女狩りの「……断乎、絶滅する」という事になると（尤も一旦敵になれば、ネズミのように大人しくなるものだが）一寸した文句でも、これはワイセツだなんて文句をつけてくるので、油断もスキも見せられない。然し、彼等も所詮サラリーマン、宮仕えであってみれば見かけほど仕事をしているように見せかけないと、「此の頃、ヤマチョルン」という事になりかねないのであるから「哀れ」でもある。\n\nさて、そこでだ、愛読者諸君にはちゃんと判断がつくが、世のボンクラ共（怒り給うな）には、何んのことやらチンプンカンプンでわからん、という一枚着衣のままで日常の貴と云う、校正にとまらないもので、僕この場合手本に映画館内とか街路、公園、焼跡等から話をしてみよう。\n\nまずランデブーか、アベックの場合相手の女が“縛り”を意識するとせぬにかかわらず、一応腰紐型に後ろ手に両手首を組合わして、片手持で連立につれて歩き合わすことがある。それでも「変な格好ね」とか「何かしばられてるようョ」とか云った場合、「そうだよ、僕の愛の縄目だよ」と、そのものズバリで一本喰わすと大抵「ホー、イヤネエ」とか「マア……」位で行き交う人さえなければ別に反抗するものはない。\n\n然し、貴女を意識している女が、ズクに反抗するものはない場合もある。高草小型〔判読不明〕に組合わした手首を掴むと、下からグイッと肩先まで引き上げても「イッ……」と一声〔判読不明〕、抵抗のないのが常で、せいぜい「ホント痛いわ、勘忍して……」位でしまい。そして僕が手を離しても後手の姿はそのままで、体を少し起す程度と云うのが多い。所謂、女性本能性と云うのを利用した、マゾの第一歩は胎動して行くわけである。\n\n（以下、女性の髪形、肌着、各種の紐・帯・紐状衣類の名称を伏字表現に利用する方法を論じ、伏字を単なる削除ではなく読者の想像力を刺激する編集技法として扱う。）\n\n【会友通信】\n六月号は久し振りに“奇グ”の面目を取り戻したものと云えましょう。新入モデル萩さんの加入と縄の四十八手は今後我々愛読者の期待の焦点です。縄の四十八手は今後も続けて掲載して下さい。凡ゆる縛り方、責め方を各方面から写して組にして頂く事は非常に参考となり、又眺めていても凡ゆる想像が出来て楽しいものです。瀧さんの絵は「十物足りなさ」を感じます。もう少し縄を多くする事が縛りの必要条件ではないでしょうか。本誌では村さんの“緊縛の構成と破壊のアイデア”を最も興味深く読みました。縛り写真の出来る迄の苦労がよく解る様な気がしましたが、只縛りに時間をかけても写すのは一瞬であるから云々。（川端）\n\n川端さんには早速私の希望を取入れて頂いての御挨拶感謝致しております。来月号を楽しみにしています。一月以来久し振りの登場、“ブーメスン責め”という題名に期待しましたが、大分カットされましたね。此の次は是非傑作をお願いします。又そろそろ新しいアルバムの欲しい頃となりました。殊に三月号の事件以来、本誌の写真が稍低調になりつつありますので、一層アルバム等の特別刊行物に期待する事大であります。今度の試みとして次の様なものは如何でしょう。モデルアルバムとでも名づけて、各モデル嬢二十人近くにも及んでいるので毎の特写アルバムです。先ず各モデル嬢の“始めて縛られた時”の写真を載せ、次に各モデル嬢が最も得意とする縛られ方、責められ方を出来れば正面、背面の二態短位を発表して頂き度いのです。（Y・O生）\n\n女が女を責めるブロマイドが作成されてKK通信に出ました。実は変化がなくて物足りなく、且つ責めのアイデアの乏しい作品もありました。今度の御企画には相当のバラエティが期待されましょう。ただ此の場合オールヌードよりは責め方が詰まって、責められる方がヌード。又これの反対でどちらか一方だけヌードにした方が刺激が強いかと存じます。この種のアイデアとして別紙二葉の略画をお送りします。（越南生）\n\n僕は常に露出した臀部を鞭打又は凌辱されたいと念願したり、女性の排泄物を御食したいと願う二十六才のマゾヒストです。自分の緊縛ヌードを人に見せたいと云う衝動に悩むものです。全裸にされて手足を縛られた儘逆さ吊りされたり、両脚を大きく開いて別々の枝に逆さ吊りされたり、いたずら者の女に責められたりしたい。多数の女性達（サディスト）の共同慰み者となって奴隷教育を受けたいと熱望しています。女性達が看護婦姿若しくは娼婦達の様な恰好で飼育される夢を見ている男です。勿論特定の女性の専有も差支えありません。徹底的に汚され、もて遊ばれて虐められ責めを妄想し快感を感じる角です。骨を折られたり刃物で傷をつけたり等しない限りどんな方法でも良い、責めて苦しめて呉れるサディストの女性なら四十才以下何の条件も求めません。僕は奴隷の身として女王様の命令には絶対に服従します。一年でも二年でも契約制で雇って呉れる女性の方はとの僕を結びつけて下さい。僕は喜んで女王様に身も心も一切捧げます。（鈴村久彦）\n\n純な同性愛の方を求めつつも妄想なせいか、真実の意味で理想の方にめぐり逢えず、淋しい日々を過して居ります処、前月誌第三月号を拝読致し何かしら心の中に明るさを呼びました。此の度は品川張の御四月号を求め、唯一人旅館の一室にて心ゆく迄楽しみました。その節絵尺にいたずら書したのがカバンの中から出て来ましたので同封します御笑い下さい。四月号の天沼氏の提供のものに心を引かれましたが、女の方の追力に対して男の方が単純である様に思われますが如何でしょうか。然し私はマゾではありませんので男の裸体のみ興味を覚えます。もう少し男性の裸体写真を加えていただけませんか、尚地区別に愛読者の交部があっても良いと思われるのですが如何でしょう。（普通人）\n\n今日の満足は明日の不満と変って行く、私の心の隅に眠っている野獣性？といな、それ以上のイーマルの怖れぐるもの。理解なきままに過ぎて来た私が、一瞬の恥らいにより歓喜を生んだ恋。心ある友のラブの告白。それは君が生命であり、私の生命でもあった。数行の文学により、連想されてゆく、未知の世界への探求。おゝ、唯一かたき情書の書“奇グ”よ。（澄水生）\n\n卒直に希望を述べますから気を悪くしないで下さい。私の最も好きなのは小坂氏や沼田氏のものの様な、普通人でありながらそうな趣向かと思わせ振りなく、大胆に書かれたものです。何の飾り気もない処に実感が伴い気持よく感じます。学者の様に理窟張った程氏のものや、変態を正常化しようとするかの如きこじつけがましい某氏のもの等は大嫌いです。特別愛読者の告白である古川氏の様なものも後に病的で暗い気持が残って好きません。小坂氏や沼田氏のものは無熱や闇の女の生活を詳いていてもさっぱりして、いやな後味が残りません。吾妻氏のものの好きです。時々興奮気味が処置に嫌です。御誌を購読するのは何をとかについて変態を正しい様に理論づけて貰おうとか、芸術気に賛意を満してもらえればこれで良いのです。変に正面切って理解をもとめられると反って嫌気がさします。この意味で本月号の辻村氏の「緊縛の構成と責めのアイデア」は興味深く較えられる点が多々あったのですが、悪に充たない点もあります。特別の研究家や嗜好家はともかく、一般読者は縛りそのものよりもこれによって表われる美しい肉体や緊張したポーズを求めているので、猥せつ云々よりも、とにかく望んでいて容易に得られないものを見せて頂ければ結構です。芸術品を得る為であったら外に適当なものがあります。適当に当局の圧力をさけ読者を満足して下さる事は結構ですが、一般愛読者の求めているものは何であるかお考え置き下さい。口絵挿絵で好きなのは畔岸数次画伯のものです。縄を少なくして自然の儘の姿態美には強く共鳴致します。緊縛絵を好む者は多いでしょうが縄をつけなければ承知しないという人は幾らも居ません。あの新鮮な好ましい裸体や白絵に挿絵に思う存分振って頂き度いものです。前述病的要素を含んだスリルに富む探偵物や、最近新聞紙上を賑している事件の報道や特殊地区の調査報告等も掲載して頂きたいものです。こん後の希望を少し述べさせて頂きます。まず第一に緊縛写真の一覧を何かの方法でポストして下さい。先に「奇グ」に発表した様なものでも概略さえ解ればよいから不鮮明でもKK通信にも挿入して下されば幸いです。\n\n〔以下、会友通信はさらに次頁へ続く。〕\n\n【伊呂波仁補遺抄】\n（四頁上段二七行目）すっかり裸にしてしまう（五頁下段二行目）するとだんだん興奮してきました（同七行目）右手で私の下腹部の上をつっぱり軽く叩いて（同一〇行目）二度目に軽く叩かれた時はすばらしく快かったのでうっとりとします（五頁中段七行目）全く素晴らしい気持ちになったると同時に（五頁下段二行目）性的な〔判読不明〕木の上半身が蒲団からはみ出して居た（十二頁下段二五行目）に抱き胸するように（同下段一行目）長くはがしい口吻けの下で（十三頁上段二行目）前面を露（同下段四行目）腰をグッと腹の上に（同五行目）下半身を（同一五行目）の一部（同二七頁下段一行目）陰具〔判読不明〕……（同二九頁上段五行目）性気をのものを（同二頁上段二九行目）の快感が（同二三頁上段二九行目）相手だ。\n\n（四頁上段一行目）私の手がそのままいる間に触れる触れないうちに、妙子は仔鹿のように小柄で、そのくせずっしりと重みのある身体を投げかけてくるのです。私は躊躇しながらグッと妙子の背を撫でます。（同二四行目）私は変な信頼しきっている妙子は「なんだかいやねえ」などと云いながらも大した反抗もなしに縛られます。もう妙子の心は一人きりの夜に酔っているのです。（同段九行目）縛った女性を布団の上までゴロゴロ転したり、上からのしかかって、顔中キスの雨を降らせたり、身体を海老型のつらい程に咬んだり、犬のようになめまわしたり、時には平手で頬をペタペタ叩いたり、そういう愛撫で私の前戯は終るのです。\n\n（八頁中段一行目）性的興奮して（八頁下段一行目）仰向けになって（八頁下段一六行目）……。同頁の後半には、彼女の身体に接吻し、膝や腹、股などを撫でる描写が続く。\n\n【六月号の迷評／宮川一】\nうららかな五月の陽光を一杯にあびて、緑這に腹這いになり食いに来たばかりの「奇グ」六月号に目を通す。\n\n「良井縄の狂女」、何時も乍ら昔々の貴め絵である。画伯の時雨探原様を見せて貰ったのは伊藤晴雨画伯以来であると思う。小生等は口絵や挿絵を見る為に雑誌を買う様なもので、如何に本文が良くとも口絵のまずいものは買う気がしないし、挿絵のろくに無い様な本は先生方だろうが、其の点両方を兼備している「奇グ」だけは毎号欠かした事がない。妙な讃辞などして許容の程。\n\n描かれたこの絵こそ毎月待たれる為によりの期待を心より満たして呉れるものであると共に、貴誌には無くてはならぬ口絵ではあるまいか。願わくば読者一同の期待である名画刷りを、たとえ一頁だけでも掲載して戴きたいと念願する。扨、本誌初頭の「緊縛の構成と責めのアイデア」は、我々読者の希望意見に対し実際にヌードを駆使して写真の構成に当る編集者側との見解の相違の分析として具体的に詳細にわたっての解説は大いに参考となりモデル嬢を実際に緊縛して構成する編集者からうらやましく大変には苦労しているのである。又、服締りは最初の産恥が過ぎると緊る股締りを好む事云々、我々青年の多感な血を沸かすものの絵である。\n\n「美しい緊縛」を見て、巻頭に小説の中には自己陶酔の対象としてマゾ趣味に性急な余りやゝもすれば想像の女性を描く、誇大に過ぎて女性の魅力さえ描き得ない醜態打ち血まみれ残虐を強調される傾向が多い、云々文章は正に我意を得た表現で大いに共鳴する処であり、馬鹿氏に敬意を表する。縄以外デザイン雑記「服装の利用」またどうだろう、自分をその様に反る若しそう云う女性が現れたらどうだろう、など想像にひき入れられる。海外サディズム雑記「服装の利用」まず写真を見てびっくりする。よろめくスカートをはく女、ウエストナイロンのコルセットをつけた女の写真を見ていると何かしらピンと来ない、空想の世界の事を夢見ている様である。\n\n【珍刀妖集／大伴馬鹿持・編】\n○緊縛後手乙女故か泣けば心も萎ぬに サド思ほゆ（柿本下手麿）\n○鳥の毛のくすぐり責めは軽くあれど 大宮女縄解きかねつ（柿本下手麿）\n○見れば飽かぬ美女の肌のいましめの 解くることなく復讐り見む（柿本下手麿）\n○吾はおや安見縄々習人の責めかて にずら安見縄る（藤原鎌足）\n○吾はおや安見縄る習人の責めかて にずら安見縄る（藤原鎌足）\n○藪待つとわが恋いをればわが胸の縄 目まぎひと秋の風吹く（織田玉）\n○験なきものを思はずは悦虐のうまし 乙女を責むべくあるらん（大伴賢人）\n○苦しくもめくる細か蛟縛胸のわたり に細もあらなくに（長歌寸部麻呂）\n○緊むというも責めぬ時ある責めというを 責むと時待たじ責めどい（大貫覚次郎）\n○縛られて目長くなりぬ誰をかも呼び にか呼ばむ泣きか泣かむ（阿気礼姫皇后）\n○淡にあれば絹吊る阿魔を責め旅にし あれば権の木に吊る（有馬皇子）\n○今更に何を語らむ猿轡口をば君にふ さがれしものを（藤壺女郎）\n○あかねさす緊縛すぎ引立てば野字には 見ずや君が縄尻とる（織田玉）\n\n〔写真キャプション〕腰巻　萩千恵子嬢。\n\n読物とはこの事なり、願わくば一度その様な人を拝見致し度い、又こん後この様な海外ものの紹介はどしどしやってもらい度いと伏して懇願する。変態男子の告白を読んでいると、落語の筋書きに書き直した感じがする。男から女に転向して女性ホルモンを一年間も注射す、そして恋人が出来て結婚の申込み、何んだか微笑を禁じ得ない。富めの自画像、自分の母を責めるとは何かしら割り切れぬ気持がする。第二にネズミ責めなんて本当に出来るのか又寒中の水牢に水を入れるのか不思議である。\n\n【責めアイデア断片】\n編集部へ送って来られた同好者からの「責めのアイデア」の中、面白そうなのを拾って紹介しよう。投稿の中の多くのものは既に写真に撮影或は絵になって、本誌の口絵なり代理部の扱いになっているが、これから紹介するものによって、更に新しい着想が生れる事を期待して、先ず小道具を巧みに用いたものを挙げてみよう。\n\n（一）責めのアイデアの一つとしてゴムマリを使用の方法。昨年八月号の荻村〔判読不確か〕さんの文にゴムマリを責めの道具として使用する事が特に詳細にわたって述べられて居りましたが、私も従来よりこの方法に特に関心をもっている者で御座います。もっとも私のはゴムマリを第一の道具として用いた事から出発しているものですが、私共のやる方法といつても結局、足首を縛った上にゴムマリを挟んだり、膝や腿の間に挟んだりする。大きいと中に入る空気の量を多くしたゴムマリ自体の柔軟さがあるばかりでなく、強い収縮性を持っているのが責めの道具として極めて好適です。先ず空気を吹き入れたり、吹き出させたりするゴム管を用い、女を後手に縛り、股間にはさませて足首を縛ります。なるべくゴム紐の太いのを使って縛るのがよいと思います。此の場合の縛り方にも色々ありますが、柱に縛るとか椅子を斜にしてさらに緩めたりすることで現実に近い変化を出す。私の経験では、足首を以上で吊る方法が一番よいと思います。そしてから空気ポンプ等を用いてゴムマリをだんだん膨らませる。すると、縛ったゴム紐と加わって女体の肌に喰いこんで相当の苦痛を与えます。そしてゴムマリが充分膨張した頃、羽村氏の述べられた様に、十四吋に作ったものなら二十八吋位ならくらみます。ゴムマリは股で充分しめつけられているので空気は挿入口から、激しい勢で噴出しますのでゴム管を指でつまんで、その勢を加減することが必要です。縛り方を色々工夫して、ゴムマリを一つだけでなく二つ三つと用いるのもよい。腕力の足りぬ時はフットボールの様に二重、三重のゴムマリを使用すると別になかなか興味深く、刺激も強いものです。以上述べましたことからは、別段目新しい事ではありませんが、此のアイデアを幾分なりと加味したものを今後、発表願えたら私の最もよろこびとするところで御座います。（AK生）\n\n（二）先ず第一は、後手に縛り布袋に裸女を詰め込み、口を封ずる。これは真実自由を奪われた若き女が一個の荷物化した悲哀な表現で、布地が掛けられば一層面白い企画でしょう。第二は、後手に縛った女の鼻をL型の金具で吊り上げポーズ。被虐者自胸とした写真又は、中坐、直立させて吊り上げて置く。第三は、金目式東縛、両手両足に紐、耳、鼻、乳、肛門等、全腔部を縛った何かで閉塞する、大変変った妙な種類ですが、小生モデルを得られば実際にやりその感想を基とした風変った興味的な小説的なものを創ってみたいと思っています。勇敢に申し出て頂けるモデルの方を念願し、この夢を育て上げる目を夢みて。（桜一郎）\n\n（三）唾の洗礼。サド、又はマドの行為として唾をなめさせたり、尿を飲ませたりするのは雑誌等で見かけますが相手の顔に唾を吐きかけてやるのも相手が処女の場合は案外刺激の強い辱しめではないかと思います。縛られた女の前で「お前に洗礼を授けてやる」等と言いながら、両の手で頬を充分につけて、その手を女の顔にあてるのです。サゾの側でもマゾの側でも異常な興味をおこさせるでしょう。又は唾の束をつかんで、顔にたたきつけてやるのも、残酷な責めとして面白いでしょう。（M生）\n\n【ボクの責め方（十三）／宝塚二三夫】\n（イ）秋子、（ヌ）久江、（ラ）和子、（ホ）きみ子、（N）秋子、（V）幾子、（W）肖子等は、又取りどころのある事は後記でわかる筈である。\n\n○幾子、（W）肖子等は、又取りどころのある事は後記でわかる筈である。私は人妻で派手な格好のワンピースを着て久しぶりで「アラ御機嫌ね」と現れた華子の両手を「肉体の門」のマヤよろしく僕の部屋の欄間に吊り上げて――玄人女らしくパリッと腋ばかりのを忘れずに、問題はわきの下。「剃らないのかね」と、モジャモジャ生えた柔らい毛をつまみ、ものも又興味である。この手で責めるのも夏の戯狂には楽しいもの、コスチュームそのままの美しさの中に出来る高手責めの醍醐味。\n\nそして後手に縛り、両足を重ね組合わして、ギリギリ巻締めの上で小手縄につなぎ合わせて、「想炎する緊縛ネエ」と云って彼女を一杯に折り曲げて、首を痛い程引上げる。ズクに反抗するものはないが、高草小型に肩中に組合わした手首を掴むと、下からグイッと肩先まで引き上げても「イッ……」と一声。抵抗のないのが常である。\n\nいろいろの紐、腰紐、帯、柔らかい布、スプリング型の紐、ネット、ククス流しの紐、正絹、硬い紐等、材質ごとの感触や跡の残り方を語り、特に柔軟な紐が肌に生き残って見える様を美味とする。\n\n【編集部便り】\n○いろいろ旋風が七五〇ミリバール位の猛台風となって吹き荒んだため、このところ、難産沈滞する雑誌が続出、但し、名ハイロットの操縦する奇グは波乱激済をものゝ超えて、今や追風を受けて快走中、御安心のほどを。\n○最近妙な雑誌が出た、表紙は露時増刊の七月号、扉は創刊号というのでおやおやと思って、奥を見るとこれは又聞けてビックリ、六月一日発行、メデイ、という寄せ集めのチンチクリンだ。どうせ創刊号兼廃刊号という代物だろうが――。\n○KK通信第二十一号が大変遅れまして何んとも、はや、申訳もございません、平に平にお詫び仕ります。陽気がよくって、遊びすぎたんじゃございませんが、神経衰弱と腰痛が一度に編集部を襲ったため、御承知願う次第。\n○扨て、本誌七月号は、例月より少し早く、二十日に皆さまのお手元へ届いた筈で、引続いて八月号の印刷も着々進行中、例によってちょうど、御披露及べば、口絵では本誌の誇る「十四頁のあのうまる、おおとせしょしゅ」ずらりと超緩級の豪華版を並べる。\n○これを見ても、毎号新二夫をとらした短品揃い、この二十四頁の絵だけでも奇グの百円は安いと専らの評判。然し、当局の眼も事とこの頁に注がれるとすれば、又帰し難しの辛さかな、これを研究し検討の結果を結集して、新に撮影した斬新な材料を巧みに盛り上げた本誌写真部の苦心の賜、名コンビ春日ルミ嬢と伊吹真佐子嬢の「アクティヴとパッシヴの美しいポーズ」。\n○マゾヒスチックなものでは、応募された愛読者に出演を願って、春日ルミ嬢と思うままの奔放なアクションをうけて貰った。曰く「尻に敷く」「気まぐれな弄び」「撃打ち」「足台」等々の頁をたっぷり。\n○外国物では、ザ・サイレント・パートナー、奇抜な栓加、首枷、それに口を掩った白いマスクがよくきいている。\n○柳染の群羊美女復旧伯、刑罰図譜の最後として「蓄刑」「磔獄台」「鉄の処女」「ギロチン」の四頁の外、毎号好評の“戯文戯画”は、八月に因んで「水着」と題した水切物、といっても決してありふれたものに非ず、氏独特の奇想天外、あっと云わすもの。\n○伊藤晴雨画伯の八月の責絵は「三叉洲の惨劇」という殺し、これは編集部の手違いで、急遽、先生に御執筆を願って、やっと締切に間に合せた。\n○縄を用いない責め遊戯として、「涙」と「抓り」を予定、外に「セルロイド・輪利用の乳栓」という写真を用意している。\n○前号と同じく、幻想的なアブノーマル画に「紀元を翻すべく杉原虹児描」がする。よき助言あれば伏苑へどうぞ。\n○藤岡斗氏の縛り方教室、本月は向暑の折柄、ナイロンのブラウスが風になびく風情を描いて貰った。\n○本誌では、三腰責め直・を責した二俣勝津平さんの「腰観」、これは藤人間の新しい着想によった野心作、上川裕さんには「野村ちこ」で、不幸な結婚に楽しかるき青春を浪に導く佳人の被虐の生活を描いて独断場。三女妾競演。\n○変った責めの体験としては、山田進氏の「青白の螢光燈」が光っている。病印中の中康丸運氏が、本誌ファンの為にわざわざ山原稿を送って来られた。切腹物としては、「切腹と陀羅絵」によって、陰惨なるべき“死”を夢幻的に美化している。これは懸賞入選作でもある。\n○懸賞入選作といえば、「第八選の細川美世子さんには目下、書き直し依頼中、妖虫記」は芳野眉美さんは今回半分以上に亘って改訂を加えて妥稿になったが、まだまだ差支えある個所が散見される。\n○懸賞の告白と手記に体験、は数多くの御投稿に感謝している。個々についてはその都度直接御返事申し上げているが、公開を憚れる個所が多くて折角の作品も入選扱い出来かねるのは残念。但し、漸次、公開可能の作品も集っているので、今後の誌上を賑わしたいと思っている。\n\n【短信往来】\n○優秀なる作品が続々と集っているので、秋には増大号を刊行して皆さまの御期待に応えたい。\n○本屋大変遅れて申訳ありませんが、次号は引続いてお届けする筈。\n○辻村隆氏の幹旋で、愛読者のブルジョア某氏が自家用車を提供してくれるというので、五月晴れの一日、野外撮影行を敢行、モデル伊吹真佐子嬢を連れて、貴重な番外の縛り写真の数々を得た。次号には、辻村氏の撮影紀行と共に素晴らしい写真を公開の予定。\n○昨年の本誌では「混入」というぶすいものを一力在連載、その後、吾妻新氏の「感情教育」森本羅夢氏の「残虐なる女淫崇」伊集院雨氏の「生誕」等の長篇連載が好評を博しているが、余り長続きしそうもない創刊号という雑誌が「長篇連載第一回」等と銘打っているのを見ると、他誌の事乍ら、あとあと心配になってくる。なんだか、書いている人に気の毒のような気もする。\n○新刊を買わないで泡沫雑誌だけが残って泡沫が出なくなれば読書界も落着くだろう。\n○最近、サディズムを描いた新刊を読みましたので、紹介したといます。南北戦争、原名は The Memories of Dally Morton。訳者はカウント・ジョージ、南悦夫訳となっています。奇譚クラブでは御存じでしょうが、二十八年九月の発行となっています。金髪青年ドレイの生活やリンチやその他ドレイの事、南北戦争について書いています。僕の最も興味をひいた所だけ書いて見ます。リンチを受けるその女が股の開れているスロースを穿いていた為に、スカートをまくり上げられると、スロースを穿いていても、お尻がすっかり皆の目にうつるそうです。七四頁の後ころから始まります。\n○スチーヴンスは私を裸にしました。出来るだけ長く時間をかけて娘の恥らう姿を楽しむ為か一つ一つゆっくり私のキモノをたくし上げてスロース一つにしました。私は彼の開いている温暖のスロースを穿いていましたので、スチーヴンスはそれを見て「おいみんな見ろよ……中略……というのは大変柔かくてリボンやレースでぶちぎ取った洒落たものだぞ、そしてお尻の方には大きな割れ目がつけてある。これは何だ、こいつの亭主がこいつのスロースを脱がせないで済む様に出来ているんだろうぜ」と皆で笑いとなりました。私はこんな恥かしい言葉を聞いて打ちのめされたような気持になりました。\n\n【発行奥付】\nKK通信 第21号。昭和二十九年七月一日発行（毎月一回一日発行）。発行人 吉田稔。編集人 笹田京二。発行所 大阪府堺局区内菅原通四ノ三〇 暗書房。定価二十円。",
        "translation_draft": "【KK Correspondence No. 21 / Published July 1, 1954】\n\n【Readers' Forum】\nRecently the newspaper world has treated publications issued under the name of customs magazines as convenient material for discussing their supposed influence on sexual crime, and I feel that influence has been exaggerated. As an avid reader of this magazine, I cannot claim that my own view is perfectly impartial. Even so, judging as calmly as I can, if I am asked whether the good or the harm is greater, I have no hesitation in saying that the good overwhelmingly outweighs the harm. Itō Seiu once described the purpose of the art of torment as providing a buffer zone for human instincts that otherwise demand naked exposure. I agree completely.\n\n【Suppression of Expression and the Reverse Course / Murasame Haruo】\nDuring the war, when not even a single publication of this sort was permitted to be printed, sexual offenses were at their most numerous. If that fact is considered, the spread of sexual crime cannot simply be blamed on the influence of magazines. At its root lies a cancerous symptom produced by poverty of every kind.\n\nThe greatest poverty is political poverty in society and a lack of affection in the individual. Bribery and corruption have become commonplace, while elections are accompanied by coercion. When government itself takes the lead in trampling on the Constitution and sets the example, what is to become of people who have also been expelled from the realm of human affection? Sexual wrongdoing cannot be explained merely as the result of magazines. Human beings possess impulses capable of becoming destructive, and what restrains them is sublimation. One need not invoke Freud at length to see the point. It is precisely through sublimation that these impulses may fulfill a higher function, and publications of this kind therefore possess an extremely important social value.\n\nUnder the beautiful slogan that Japan was leader of the peoples of Greater East Asia, military men inflicted plunder, brutality, and violence upon innocent people and upon the peoples of Asia. We cannot yet have forgotten the nightmare of only a decade ago. Yet it seems that an invisible web of oppression is once more being spun around us. Good, mild, trusting people must not be deceived by skillful rhetoric. We should remember the violence and shamelessness of wartime and resist the return of such conditions.\n\n【A Dream of an Aestheticist / Okada Yoshio】\nI cherish beautiful restraint. Again and again I have thought that if only I could put into an album the scenes of torment that I imagine while contemplating their beauty, I might make visible the fantasies I ordinarily keep to myself. What follows is my abnormal fantasy narrated by an imaginary model, an explanation of what might perhaps more properly be called the second collection of Beautiful Restraint.\n\n[Photograph caption] Asano Sueno's voluptuous back style.\n\nWhen I was asked to become the model for the third collection of Beautiful Restraint, I gladly agreed. Being tied and tormented is, for a masochist like me, the greatest pleasure imaginable. But as the photographs show, this time I was made to endure a great deal of pain and humiliation. Even so, I experienced sensations that are impossible to describe. Please read while looking at the various poses.\n\nLeaf One: Preparations for Torment\nUsually I remove my drawers before the rope is applied, but today, before I had even taken them off, I was pushed down where I stood. My arms were twisted behind me and tightly bound. Then another person removed my drawers. I had expected to be naked, but the humiliation of having another person strip them from me was of another order. The rope binding my wrists soon ran upward, around my upper arms and chest, increasingly biting into me.\n\nLeaf Two: The Caterpillar\nBinding my hands behind me was no longer enough. The free end of the rope was wound once more around my lower abdomen and then passed downward, tightening me into a posture resembling a fully trussed body. I became a suffocating, helpless figure like the bound woman shown in an earlier issue. A narrow hemp rope extended in front of me from the arrangement.\n\nLeaf Three\nI was turned on my side and bound from behind. A taut rope passed near my hands and the thin cord bit painfully into my body. I was photographed in that condition.\n\nLeaf Four: Candle Torment\nCandle torment here does not mean merely placing a candle. The pose was devised so that embarrassment and pain would be experienced at the same time. My head was lowered against a support, my hands secured, and my ankles pulled forcefully apart. The pressure through my lower body became almost unbearable.\n\nLeaf Five: Shrimp Torment\nAfter being released from the post I had only a moment of relief. My thighs were forced open as far as possible and my ankles were secured to bars. A rope was then placed around my neck and its free end led back toward the hands bound behind me. The posture pulled upon the flesh of the buttocks.\n\nLeaf Six: Reverse Shrimp Torment\nWhen the previous pose ended I was bent backward. My ankles were tied together, and the rope ran up my back toward my neck. It was tightened as much as possible, thrusting my lower abdomen forward. Another photograph shows me from the front.\n\nLeaf Seven: Reverse Shrimp Torment\nThe reverse-shrimp arrangement is continued, joining the bound hands and legs so that the body is strongly arched.\n\nLeaf Eight: Wooden-Horse Torment\nThere is hardly any need for explanation. The apex of the triangular support presses upward into the body. With a body weighing around fourteen kan, my own flesh became my enemy. Whenever I tried to twist to lessen the pain, ropes stretched in front and behind prevented movement. Look at my face distorted by the pain.\n\nLeaf Nine: Trussed-Monkey Suspension\nAt last my hands were released from the previous binding, but now came suspension. At first my hands and feet were tied together. My body kept revolving, making photography difficult, until at last I was steadied long enough to make the exposure.\n\nLeaf Ten: Inverted Suspension\nAfter the previous scene I was suspended again. A rope was passed through an opening and I was hoisted. The sensation made even a short interval feel extraordinarily long. These are precious photographs.\n\nLeaf Eleven: Inverted Suspension and Candle Torment\nThis is the sort of thing that, once one comes to enjoy it, becomes impossible to abandon. With my legs spread as far as they would go, I was hung upside down and candles were applied. Merely imagining it is enough to make one shudder. A single photograph like this is enough to justify the entire album.\n\nLeaf Twelve: Gag\nEven now the sensation remains in my body. The gag is, as you can see, made from drawers. Since they were my own, one might imagine the humiliation was less, yet the use of an intimate garment as a gag produces a special sense of degradation. Rough rope was also applied over my upper body and breasts, intensifying the feeling of restraint.\n\n【Mutual Torment and Women's Combat】\nSince the color plates in the July issue, we have been making photographs of women in new forms of torment that do not depend entirely upon rope. Both sadistic and masochistic women have served as models. This time Satō Shirō, who has made a particular study of women's combat, proposed not one-sided torment but mutual torment, in which two women attack and torment one another. Among the women currently being trained for this sort of performance, one who appeared in last year's October issue is said to be especially capable.\n\n【On Fujimi's Timid Sadist / Watanabe Nosuke】\nI read Fujimi's Romantic Sadism in the opening pages of the July issue and, as a fellow sadist, felt considerable sympathy with his position. Yet something about his phrase timid sadist does not quite fit my own conception. There are differences between individuals, of course. In Fujimi's confession he describes a light kind of sadism. Borrowing his own words, he calls gently to a woman named Taeko, tells her that she is too adorable to be allowed to go home, and says that perhaps he should tie her hands and feet so that she cannot leave. He then binds her wrists behind her with a sash and lightly secures her ankles.\n\nSuch a scene can be understood as the sadist's possessiveness, the desire to make one woman entirely one's own. The female body is described brightly and beautifully, and expression and bodily posture convey more than words. But the state of mind I call sadism involves acting upon the partner's body in a more thorough way, mobilizing its various parts and reactions. There have been writers who, with great courage, confessed strange inventions of erotic cruelty and brought their scenes to a climax. By comparison Fujimi seems almost to say that he is not one who takes pleasure in merely looking at a woman's face distorted by suffering.\n\nYet the very scene he describes, in which a woman is restrained while twisting with embarrassment, already reveals another side of sadism. She binds him with a thin cord, draws him up, and turns restraint into a reciprocal drama. What especially impressed me was the courage involved in publishing scenes in which a male masochist and a female sadist appear together. The differing expressions of pain, embarrassment, and pleasure in the two partners are precisely what attracts me.\n\nI therefore sympathize with Fujimi's advocacy of sadism that does not simply revel in cruelty. My own drawings and remarks sent to the editors likewise attempt to approach sadism through sincerity, fantasy, and the aesthetic effect of the body rather than simple brutality.\n\n【Thoughts on the Magazine's Censored Characters】\nIn wartime there were people who roared that certain practices must be stamped out absolutely. Even now, once something is declared an enemy, authorities can become absurdly zealous. A small phrase is enough for someone to call it obscene. Editors therefore cannot relax for an instant. Yet the officials themselves are salaried employees and must appear to be doing their jobs, otherwise people may wonder what they are doing. In that sense one might even pity them.\n\nWhat, then, should a magazine do? Experienced readers understand perfectly well what is being discussed even when words are censored, whereas outsiders may have no idea at all. Rather than treating censorship marks as simple mutilations, we can make them part of the imaginative game between publication and reader.\n\nTake a rendezvous between a man and woman. One may place her hands behind her back in a position resembling bondage and lead her by one wrist. If she jokes that she looks as though she has been tied, he can answer that these are the bonds of his love. Unless passersby intervene, there is often no open resistance. Likewise, a wrist held behind the back can be raised toward the shoulder until the woman gives a small cry. Often she retains the posture even after being released. Such behavior, the writer suggests, can be treated as the first stirrings of masochistic feeling.\n\nThe essay continues by playing with the names of hairstyles, undergarments, cords, sashes, and other items as substitutes for prohibited expressions. The point is that censorship can itself stimulate the reader's imagination. A missing character, suggestive substitute, or euphemism can become an erotic device rather than merely an obstacle.\n\n【Members' Correspondence】\nThe June issue has at last restored the proper character of Kigu. The addition of the new model Hagi and the forty-eight forms of rope give us much to look forward to. Please continue the series of forty-eight bindings. A systematic presentation of different forms of tying and torment, photographed from different directions, is both useful for study and enjoyable because it allows the imagination to range widely. Some of the drawings, however, seem to me insufficiently bound. Perhaps more rope is necessary. I was especially interested in the feature on the construction and destruction of bondage. It helped me understand how much work lies behind the photographs, though one may spend a long time tying a model only to expose the photograph in an instant. [Kawabata]\n\nKawabata, thank you for responding so promptly to what I had hoped to see. I look forward to next month's issue. I had expected a great deal from the title Boomerang Torment, but much seemed to have been cut. Please give us a masterpiece next time. I also think it is time for a new album. Since the incident in the March issue the photography in the magazine has seemed somewhat subdued, so I especially hope for special albums. Why not publish a Model Album? There are now nearly twenty models. Show, for each, a photograph from the first time she was bound, followed by the form of restraint or torment in which she is most effective, preferably from both front and rear.\n\nI saw the bromides of women tormenting women that appeared in KK Correspondence. They were amusing but somewhat monotonous. I hope the next project will have greater variety. In some photographs perhaps only the tormentor should remain clothed while the victim is nude; in others the reverse. A contrast of this kind may be more stimulating than making both women completely nude. I am enclosing sketches illustrating the idea. [Y.O.]\n\nI am a twenty-six-year-old masochist who constantly desires to have my exposed buttocks whipped or otherwise degraded, and I even fantasize about consuming a woman's excretions. I suffer from an impulse to show other people photographs of my own bound nude body. I want to be stripped naked, tied hand and foot, hung upside down, or suspended with my legs spread from separate branches. I want mischievous women to torment me. I long to become the common plaything of many sadistic women and receive a slave's education from them. I imagine women dressed as nurses or prostitutes raising and training me. I would also accept belonging to one particular woman. So long as I am not maimed, stabbed, or have my bones broken, I will accept almost any method. I seek a sadistic woman under forty who will thoroughly torment me. As a slave I would obey my queen absolutely, even under a contract lasting one or two years. I would gladly surrender body and mind completely. [Suzumura Hisahiko]\n\nI seek a sincere homosexual partner. Perhaps because of excessive fantasy, I have not yet met the person I imagine as ideal and have passed lonely days. Reading the recent numbers of this magazine brought a certain brightness into my mind. I obtained the April issue, retired alone to a room at an inn, and enjoyed it to my heart's content. I even made a drawing in the margin and enclose it for your amusement. I was attracted to a contribution in that issue, although the pursuit of the woman seemed much stronger than that of the man. I myself am not a masochist and am interested only in the male nude. Could you include somewhat more photographs of naked men? Would it not also be useful to establish local groups of readers? [Ordinary Man]\n\nToday's satisfaction becomes tomorrow's dissatisfaction. Something beastlike sleeps in a corner of my mind, perhaps something even more frightening than that. I passed through life without understanding it, yet one instant of embarrassment gave birth to ecstasy. A friend's confession of love became both his life and mine. A few lines of literature evoke an unknown world and summon the desire to explore it. O Kigu, book of singular desire. [Chōsuisei, reading uncertain]\n\nI will state my wishes frankly, so please do not take offense. The writing I like best is that which feels ordinary and unpretentious while nevertheless treating unusual desires boldly. Such work has reality and is pleasant to read. I dislike writers who try too hard to rationalize abnormality or make it appear normal through elaborate theories. I also dislike confessions that leave only a diseased, gloomy aftertaste. I read the magazine not because I need someone to justify abnormality to me as normal, nor because I want everything elevated into art. I want to see things that I cannot ordinarily obtain. The article on the construction of bondage and ideas of torment was interesting, but not every point satisfied me. Specialists may care about the rope itself, but the ordinary reader often wants the beautiful body and the tense pose that rope produces. Give us what is difficult to see elsewhere while avoiding censorship as intelligently as possible. I especially enjoy illustrations in which the nude is left relatively natural with less rope. Detective stories, reports on sensational incidents, and investigations of unusual districts would also be welcome. I would also like some kind of index or catalogue of bondage photographs already published, even if reproduced rather small in KK Correspondence.\n\n【Supplementary Notes to Iroha Jin】\nThe editors print a long series of corrections, substitutions, and supplementary readings keyed to page and line references in an earlier work. Among the passages restored or clarified are descriptions of complete nudity, bodily excitement, light slapping of the lower abdomen, the pleasure produced by repeated blows, a woman's upper body protruding from bedding, kissing, exposure of the waist and lower body, and other erotic phrases lost or distorted in the earlier printing.\n\nA longer restored passage describes Taeko, a small but unexpectedly solidly built woman, leaning her body against the narrator as his hand touches her. Although she protests verbally, she offers little actual resistance. He strokes her back, rolls a bound woman across the bedding, climbs over her, showers her face with kisses, and treats her body in ways compared to shrimp-binding and playful animal-like licking. Such caresses, he explains, form his foreplay. Elsewhere the corrected text describes a woman tied on bedding, her body pressed, caressed, kissed, and struck lightly by the palm. These errata are presented not simply as typographical corrections but as restoration of the intended erotic intensity of the original text.\n\n【A Wayward Review of the June Issue / Miyagawa Hajime】\nUnder the brilliant sunlight of May, I lie on the green grass and read the June issue of Kigu, which has just arrived.\n\nThe opening picture, the Madwoman of Yoshii Rope [title reading uncertain], is another old-style torment picture, and a splendid one. Since the days of Itō Seiu it has been rare to see such work. I am the kind of reader who buys a magazine for its frontispieces and illustrations; however good the prose may be, I have little desire to buy a magazine with poor pictures or scarcely any illustrations. Kigu is one of the few magazines that consistently satisfies both requirements.\n\nI hope such pictures will continue to appear every month. The illustrated feature at the beginning, Construction of Bondage and Ideas for Torment, was also valuable. It showed the difference between the reader's wishes and the editor's practical difficulties in arranging, binding, and photographing actual nude models. The detailed explanation was extremely useful. One begins to appreciate how much labor lies behind each photograph.\n\nThe essay Beautiful Bondage also struck me. Fiction sometimes becomes so intoxicated with masochistic fantasy that imaginary women are exaggerated beyond recognition and the violence becomes grotesque rather than attractive. The author rightly argued that the charm of women can disappear when cruelty is overemphasized. I share that view.\n\nThe feature on using clothing as part of the design was also stimulating. A woman's clothing, girdle, skirt, corset, or other garment can be made part of an imagined scene. Photographs of Western fetish clothing were strange and fascinating, even when they seemed detached from ordinary Japanese reality. They draw the reader into a world of fantasy.\n\n【Collection of Strange Blades / compiled by Ōtomo Baka-mochi】\nA page of comic pseudo-classical waka rewrites the diction and names of ancient poetry around bondage, torment, gagging, suspension, and erotic restraint. Famous names such as Kakinomoto, Fujiwara, Arima, and imperial or courtly figures are parodied as authors of verses about bound maidens, ropes, hanging, and sadistic pleasure. The humor depends upon collision between the prestige of classical poetry and contemporary fetish vocabulary.\n\n[Photograph caption] Waist Wrap. Miss Hagi Chieko.\n\nA short commentary praises the issue's overseas material, asks for more foreign features, jokes that a confession by a male transvestite or hormone user reads almost like a comic story, and expresses skepticism about some of the more fantastic forms of torture described elsewhere, such as rat torment and cold-water confinement.\n\n【Fragments of Torment Ideas】\nThe editors introduce several suggestions sent by enthusiasts. Many proposed devices have already appeared as photographs, drawings, or items handled by the agency, but these are printed in the hope that new ideas will generate still more ideas.\n\n1. Rubber-Ball Torment\nOne reader describes using inflated rubber balls as instruments of restraint. A woman is tied with her hands behind her, a rubber ball is placed between the thighs or legs, and the ankles are secured. Because the ball is soft but highly elastic, it becomes useful as a torment device. Air may be pumped into it through a tube while the woman remains restrained. As the ball expands, it presses against the body while the surrounding rope bites more deeply into the skin. The reader recommends experimenting with different sizes, positions, and multiple balls. A foot-operated pump may be useful when greater pressure is wanted. He hopes the magazine will incorporate some of these ideas into future photographs. [A.K.]\n\n2. A Woman Turned into a Parcel\nAnother contributor proposes placing a nude woman whose hands are tied behind her inside a cloth sack and sealing the opening, reducing her literally to a piece of luggage. Another idea is to suspend a bound woman by an L-shaped fitting in a deliberately strange pose. A third is an elaborate total-body restraint in which hands, feet, ears, nose, breasts, anus, and other parts are incorporated into a bizarre system of cords and plugs. The writer dreams of finding a sufficiently adventurous model to attempt such scenes and then writing fiction based upon her actual reactions. [Sakura Ichirō]\n\n3. Baptism of Spit\nMagazines sometimes show sadistic or masochistic acts involving saliva or urine, but spitting directly in a woman's face could itself be a severe humiliation, especially for an inexperienced woman. One might announce, I will baptize you, hold her face, and spit upon it. From either the sadist's or masochist's side this could produce unusual excitement. Striking or smearing the face with saliva might likewise be used as a cruel form of torment. [M.]\n\n【My Method of Torment, No. 13 / Takarazuka Fumio】\nThis installment combines an illustration of a woman in Japanese dress with another woman suspended in the background and a text discussing women, clothing, underarms, ropes, and improvised torment.\n\nOne example describes a married woman arriving in an unusually stylish one-piece dress. Her hands are raised and secured above her in the narrator's room, evoking a theatrical captive. The writer's attention turns especially to the exposed underarms, their softness, hair, and vulnerability. Summer clothing, he suggests, makes this kind of torment particularly enjoyable because restraint can be applied while preserving the visual attraction of the costume.\n\nThe woman may then be tied with her hands behind her, ankles brought together, rope connections drawn tight, and the body folded forward or backward until the posture becomes difficult. The author is interested not only in the force of the restraint but in the small involuntary reactions: a short cry when the wrists are raised, a woman's attempt to retain composure, the marks different materials leave on skin, and the contrast between soft silk, hemp, narrow cords, waist sashes, spring-like cords, nets, and other tying materials.\n\nThe installment repeatedly returns to the erotic value of clothing and restraint together. A woman need not always be stripped. A sash, undergarment, fashionable dress, or soft cord can intensify rather than diminish the effect. Rope, fabric, posture, and the woman's facial expression together create the scene.\n\n【Editor's Mail】\nVarious storms have been blowing through the publishing world, enough to make many magazines founder, but Kigu, under its veteran pilot, has weathered the turbulence and is now running before a favorable wind. Readers may rest easy.\n\nA curious new magazine recently appeared. Its cover resembles a July extra issue, its title page calls it an inaugural number, yet the publication date says June 1. It looks like a miscellaneous compilation. Perhaps it will prove to be both first and last issue.\n\nWe must apologize for the great delay of KK Correspondence No. 21. It was not simply that the weather was too pleasant and we played too much. Nervous exhaustion and back pain struck the editorial office at the same time, and we ask your understanding.\n\nThe July issue of the main magazine should have reached readers somewhat earlier than usual. Printing of the August number is already advancing. The color and pictorial material will again be lavish. One of the principal photographic features will pair Kasuga Rumi and Ibuki Masako in Active and Passive Beautiful Poses, a new series of carefully constructed scenes devised by the magazine's photographic staff.\n\nFor masochistic material an actual reader who volunteered to appear will be matched with Kasuga Rumi and subjected to uninhibited action. Scenes include being sat upon, capricious play, striking, and use as a footrest.\n\nForeign material includes The Silent Partner and unusual devices involving a white mask and neck restraint. The concluding pages of the punishment-picture series will include forms of historical punishment such as crucifixion and the Iron Maiden. The regular satirical illustrated feature will take up swimwear for August, but in the artist's characteristically unexpected fashion.\n\nItō Seiu's August torment picture will depict a tragedy at a river junction. Because of an editorial mishap the master was asked at short notice, but his contribution arrived in time. Further experiments in torment without ordinary rope are planned, including tears and pinching, as well as photographs using celluloid rings on the breasts. Another fantastic abnormal illustration is also being prepared.\n\nThe bondage-method feature continues, this month taking advantage of summer clothing such as nylon blouses. Other fiction and essays include works on unhappy marriage, fluorescent light as an instrument or setting of torment, and a prize-winning piece that transforms the grim subject of seppuku into something dreamlike. Several prize manuscripts are currently being revised because portions remain unsuitable for publication.\n\nThe editors thank readers for the many confessions and memoirs submitted. Individual replies are sent whenever possible, but some manuscripts contain too much that cannot be publicly printed. Gradually, however, publishable material is accumulating and will enliven future numbers.\n\n【Brief Correspondence】\nExcellent works continue to arrive, and the editors hope to publish an enlarged autumn issue.\n\nThe present number was badly delayed, but the following issue should be delivered soon afterward.\n\nThrough Tsujimura's arrangements, an affluent reader provided his private automobile for an outdoor photography expedition on a fine May day. Model Ibuki Masako was taken along and a valuable group of unusual bondage photographs was obtained. The next issue is expected to contain both Tsujimura's account of the expedition and the photographs.\n\nThe editors comment jokingly on the uncertain life expectancy of new magazines that announce long serials in their first issue. Kigu itself has carried a number of long works successfully, but a publication that may not survive more than a few numbers should perhaps hesitate before announcing a grand first installment.\n\nOne correspondent introduces a recently read book involving sadistic scenes set around the American Civil War, giving the original English title approximately as The Memories of Dally Morton and naming Count George and a Japanese translator. The passage that most interested him concerns a woman being stripped slowly by a man named Stevens. She is left wearing only drawers designed with an opening at the rear. He calls the others over to look, mocks the decorative ribbons and lace, and jokes crudely about why her husband might have chosen such a garment. The woman is overwhelmed by humiliation as everyone laughs.\n\n【Publication Information】\nKK Correspondence No. 21. Published July 1, 1954; issued once monthly on the first day. Publisher: Yoshida Minoru. Editor: Sasada Kyōji. Published by Akebono Shobō, Osaka. Price: 20 yen.",
        "translation_final": "【KK Correspondence No. 21 / Published July 1, 1954】\n\n【Readers' Forum】\nRecently the newspaper world has treated publications issued under the name of customs magazines as convenient material for discussing their supposed influence on sexual crime, and I feel that influence has been exaggerated. As an avid reader of this magazine, I cannot claim that my own view is perfectly impartial. Even so, judging as calmly as I can, if I am asked whether the good or the harm is greater, I have no hesitation in saying that the good overwhelmingly outweighs the harm. Itō Seiu once described the purpose of the art of torment as providing a buffer zone for human instincts that otherwise demand naked exposure. I agree completely.\n\n【Suppression of Expression and the Reverse Course / Murasame Haruo】\nDuring the war, when not even a single publication of this sort was permitted to be printed, sexual offenses were at their most numerous. If that fact is considered, the spread of sexual crime cannot simply be blamed on the influence of magazines. At its root lies a cancerous symptom produced by poverty of every kind.\n\nThe greatest poverty is political poverty in society and a lack of affection in the individual. Bribery and corruption have become commonplace, while elections are accompanied by coercion. When government itself takes the lead in trampling on the Constitution and sets the example, what is to become of people who have also been expelled from the realm of human affection? Sexual wrongdoing cannot be explained merely as the result of magazines. Human beings possess impulses capable of becoming destructive, and what restrains them is sublimation. One need not invoke Freud at length to see the point. It is precisely through sublimation that these impulses may fulfill a higher function, and publications of this kind therefore possess an extremely important social value.\n\nUnder the beautiful slogan that Japan was leader of the peoples of Greater East Asia, military men inflicted plunder, brutality, and violence upon innocent people and upon the peoples of Asia. We cannot yet have forgotten the nightmare of only a decade ago. Yet it seems that an invisible web of oppression is once more being spun around us. Good, mild, trusting people must not be deceived by skillful rhetoric. We should remember the violence and shamelessness of wartime and resist the return of such conditions.\n\n【A Dream of an Aestheticist / Okada Yoshio】\nI cherish beautiful restraint. Again and again I have thought that if only I could put into an album the scenes of torment that I imagine while contemplating their beauty, I might make visible the fantasies I ordinarily keep to myself. What follows is my abnormal fantasy narrated by an imaginary model, an explanation of what might perhaps more properly be called the second collection of Beautiful Restraint.\n\n[Photograph caption] Asano Sueno's voluptuous back style.\n\nWhen I was asked to become the model for the third collection of Beautiful Restraint, I gladly agreed. Being tied and tormented is, for a masochist like me, the greatest pleasure imaginable. But as the photographs show, this time I was made to endure a great deal of pain and humiliation. Even so, I experienced sensations that are impossible to describe. Please read while looking at the various poses.\n\nLeaf One: Preparations for Torment\nUsually I remove my drawers before the rope is applied, but today, before I had even taken them off, I was pushed down where I stood. My arms were twisted behind me and tightly bound. Then another person removed my drawers. I had expected to be naked, but the humiliation of having another person strip them from me was of another order. The rope binding my wrists soon ran upward, around my upper arms and chest, increasingly biting into me.\n\nLeaf Two: The Caterpillar\nBinding my hands behind me was no longer enough. The free end of the rope was wound once more around my lower abdomen and then passed downward, tightening me into a posture resembling a fully trussed body. I became a suffocating, helpless figure like the bound woman shown in an earlier issue. A narrow hemp rope extended in front of me from the arrangement.\n\nLeaf Three\nI was turned on my side and bound from behind. A taut rope passed near my hands and the thin cord bit painfully into my body. I was photographed in that condition.\n\nLeaf Four: Candle Torment\nCandle torment here does not mean merely placing a candle. The pose was devised so that embarrassment and pain would be experienced at the same time. My head was lowered against a support, my hands secured, and my ankles pulled forcefully apart. The pressure through my lower body became almost unbearable.\n\nLeaf Five: Shrimp Torment\nAfter being released from the post I had only a moment of relief. My thighs were forced open as far as possible and my ankles were secured to bars. A rope was then placed around my neck and its free end led back toward the hands bound behind me. The posture pulled upon the flesh of the buttocks.\n\nLeaf Six: Reverse Shrimp Torment\nWhen the previous pose ended I was bent backward. My ankles were tied together, and the rope ran up my back toward my neck. It was tightened as much as possible, thrusting my lower abdomen forward. Another photograph shows me from the front.\n\nLeaf Seven: Reverse Shrimp Torment\nThe reverse-shrimp arrangement is continued, joining the bound hands and legs so that the body is strongly arched.\n\nLeaf Eight: Wooden-Horse Torment\nThere is hardly any need for explanation. The apex of the triangular support presses upward into the body. With a body weighing around fourteen kan, my own flesh became my enemy. Whenever I tried to twist to lessen the pain, ropes stretched in front and behind prevented movement. Look at my face distorted by the pain.\n\nLeaf Nine: Trussed-Monkey Suspension\nAt last my hands were released from the previous binding, but now came suspension. At first my hands and feet were tied together. My body kept revolving, making photography difficult, until at last I was steadied long enough to make the exposure.\n\nLeaf Ten: Inverted Suspension\nAfter the previous scene I was suspended again. A rope was passed through an opening and I was hoisted. The sensation made even a short interval feel extraordinarily long. These are precious photographs.\n\nLeaf Eleven: Inverted Suspension and Candle Torment\nThis is the sort of thing that, once one comes to enjoy it, becomes impossible to abandon. With my legs spread as far as they would go, I was hung upside down and candles were applied. Merely imagining it is enough to make one shudder. A single photograph like this is enough to justify the entire album.\n\nLeaf Twelve: Gag\nEven now the sensation remains in my body. The gag is, as you can see, made from drawers. Since they were my own, one might imagine the humiliation was less, yet the use of an intimate garment as a gag produces a special sense of degradation. Rough rope was also applied over my upper body and breasts, intensifying the feeling of restraint.\n\n【Mutual Torment and Women's Combat】\nSince the color plates in the July issue, we have been making photographs of women in new forms of torment that do not depend entirely upon rope. Both sadistic and masochistic women have served as models. This time Satō Shirō, who has made a particular study of women's combat, proposed not one-sided torment but mutual torment, in which two women attack and torment one another. Among the women currently being trained for this sort of performance, one who appeared in last year's October issue is said to be especially capable.\n\n【On Fujimi's Timid Sadist / Watanabe Nosuke】\nI read Fujimi's Romantic Sadism in the opening pages of the July issue and, as a fellow sadist, felt considerable sympathy with his position. Yet something about his phrase timid sadist does not quite fit my own conception. There are differences between individuals, of course. In Fujimi's confession he describes a light kind of sadism. Borrowing his own words, he calls gently to a woman named Taeko, tells her that she is too adorable to be allowed to go home, and says that perhaps he should tie her hands and feet so that she cannot leave. He then binds her wrists behind her with a sash and lightly secures her ankles.\n\nSuch a scene can be understood as the sadist's possessiveness, the desire to make one woman entirely one's own. The female body is described brightly and beautifully, and expression and bodily posture convey more than words. But the state of mind I call sadism involves acting upon the partner's body in a more thorough way, mobilizing its various parts and reactions. There have been writers who, with great courage, confessed strange inventions of erotic cruelty and brought their scenes to a climax. By comparison Fujimi seems almost to say that he is not one who takes pleasure in merely looking at a woman's face distorted by suffering.\n\nYet the very scene he describes, in which a woman is restrained while twisting with embarrassment, already reveals another side of sadism. She binds him with a thin cord, draws him up, and turns restraint into a reciprocal drama. What especially impressed me was the courage involved in publishing scenes in which a male masochist and a female sadist appear together. The differing expressions of pain, embarrassment, and pleasure in the two partners are precisely what attracts me.\n\nI therefore sympathize with Fujimi's advocacy of sadism that does not simply revel in cruelty. My own drawings and remarks sent to the editors likewise attempt to approach sadism through sincerity, fantasy, and the aesthetic effect of the body rather than simple brutality.\n\n【Thoughts on the Magazine's Censored Characters】\nIn wartime there were people who roared that certain practices must be stamped out absolutely. Even now, once something is declared an enemy, authorities can become absurdly zealous. A small phrase is enough for someone to call it obscene. Editors therefore cannot relax for an instant. Yet the officials themselves are salaried employees and must appear to be doing their jobs, otherwise people may wonder what they are doing. In that sense one might even pity them.\n\nWhat, then, should a magazine do? Experienced readers understand perfectly well what is being discussed even when words are censored, whereas outsiders may have no idea at all. Rather than treating censorship marks as simple mutilations, we can make them part of the imaginative game between publication and reader.\n\nTake a rendezvous between a man and woman. One may place her hands behind her back in a position resembling bondage and lead her by one wrist. If she jokes that she looks as though she has been tied, he can answer that these are the bonds of his love. Unless passersby intervene, there is often no open resistance. Likewise, a wrist held behind the back can be raised toward the shoulder until the woman gives a small cry. Often she retains the posture even after being released. Such behavior, the writer suggests, can be treated as the first stirrings of masochistic feeling.\n\nThe essay continues by playing with the names of hairstyles, undergarments, cords, sashes, and other items as substitutes for prohibited expressions. The point is that censorship can itself stimulate the reader's imagination. A missing character, suggestive substitute, or euphemism can become an erotic device rather than merely an obstacle.\n\n【Members' Correspondence】\nThe June issue has at last restored the proper character of Kigu. The addition of the new model Hagi and the forty-eight forms of rope give us much to look forward to. Please continue the series of forty-eight bindings. A systematic presentation of different forms of tying and torment, photographed from different directions, is both useful for study and enjoyable because it allows the imagination to range widely. Some of the drawings, however, seem to me insufficiently bound. Perhaps more rope is necessary. I was especially interested in the feature on the construction and destruction of bondage. It helped me understand how much work lies behind the photographs, though one may spend a long time tying a model only to expose the photograph in an instant. [Kawabata]\n\nKawabata, thank you for responding so promptly to what I had hoped to see. I look forward to next month's issue. I had expected a great deal from the title Boomerang Torment, but much seemed to have been cut. Please give us a masterpiece next time. I also think it is time for a new album. Since the incident in the March issue the photography in the magazine has seemed somewhat subdued, so I especially hope for special albums. Why not publish a Model Album? There are now nearly twenty models. Show, for each, a photograph from the first time she was bound, followed by the form of restraint or torment in which she is most effective, preferably from both front and rear.\n\nI saw the bromides of women tormenting women that appeared in KK Correspondence. They were amusing but somewhat monotonous. I hope the next project will have greater variety. In some photographs perhaps only the tormentor should remain clothed while the victim is nude; in others the reverse. A contrast of this kind may be more stimulating than making both women completely nude. I am enclosing sketches illustrating the idea. [Y.O.]\n\nI am a twenty-six-year-old masochist who constantly desires to have my exposed buttocks whipped or otherwise degraded, and I even fantasize about consuming a woman's excretions. I suffer from an impulse to show other people photographs of my own bound nude body. I want to be stripped naked, tied hand and foot, hung upside down, or suspended with my legs spread from separate branches. I want mischievous women to torment me. I long to become the common plaything of many sadistic women and receive a slave's education from them. I imagine women dressed as nurses or prostitutes raising and training me. I would also accept belonging to one particular woman. So long as I am not maimed, stabbed, or have my bones broken, I will accept almost any method. I seek a sadistic woman under forty who will thoroughly torment me. As a slave I would obey my queen absolutely, even under a contract lasting one or two years. I would gladly surrender body and mind completely. [Suzumura Hisahiko]\n\nI seek a sincere homosexual partner. Perhaps because of excessive fantasy, I have not yet met the person I imagine as ideal and have passed lonely days. Reading the recent numbers of this magazine brought a certain brightness into my mind. I obtained the April issue, retired alone to a room at an inn, and enjoyed it to my heart's content. I even made a drawing in the margin and enclose it for your amusement. I was attracted to a contribution in that issue, although the pursuit of the woman seemed much stronger than that of the man. I myself am not a masochist and am interested only in the male nude. Could you include somewhat more photographs of naked men? Would it not also be useful to establish local groups of readers? [Ordinary Man]\n\nToday's satisfaction becomes tomorrow's dissatisfaction. Something beastlike sleeps in a corner of my mind, perhaps something even more frightening than that. I passed through life without understanding it, yet one instant of embarrassment gave birth to ecstasy. A friend's confession of love became both his life and mine. A few lines of literature evoke an unknown world and summon the desire to explore it. O Kigu, book of singular desire. [Chōsuisei, reading uncertain]\n\nI will state my wishes frankly, so please do not take offense. The writing I like best is that which feels ordinary and unpretentious while nevertheless treating unusual desires boldly. Such work has reality and is pleasant to read. I dislike writers who try too hard to rationalize abnormality or make it appear normal through elaborate theories. I also dislike confessions that leave only a diseased, gloomy aftertaste. I read the magazine not because I need someone to justify abnormality to me as normal, nor because I want everything elevated into art. I want to see things that I cannot ordinarily obtain. The article on the construction of bondage and ideas of torment was interesting, but not every point satisfied me. Specialists may care about the rope itself, but the ordinary reader often wants the beautiful body and the tense pose that rope produces. Give us what is difficult to see elsewhere while avoiding censorship as intelligently as possible. I especially enjoy illustrations in which the nude is left relatively natural with less rope. Detective stories, reports on sensational incidents, and investigations of unusual districts would also be welcome. I would also like some kind of index or catalogue of bondage photographs already published, even if reproduced rather small in KK Correspondence.\n\n【Supplementary Notes to Iroha Jin】\nThe editors print a long series of corrections, substitutions, and supplementary readings keyed to page and line references in an earlier work. Among the passages restored or clarified are descriptions of complete nudity, bodily excitement, light slapping of the lower abdomen, the pleasure produced by repeated blows, a woman's upper body protruding from bedding, kissing, exposure of the waist and lower body, and other erotic phrases lost or distorted in the earlier printing.\n\nA longer restored passage describes Taeko, a small but unexpectedly solidly built woman, leaning her body against the narrator as his hand touches her. Although she protests verbally, she offers little actual resistance. He strokes her back, rolls a bound woman across the bedding, climbs over her, showers her face with kisses, and treats her body in ways compared to shrimp-binding and playful animal-like licking. Such caresses, he explains, form his foreplay. Elsewhere the corrected text describes a woman tied on bedding, her body pressed, caressed, kissed, and struck lightly by the palm. These errata are presented not simply as typographical corrections but as restoration of the intended erotic intensity of the original text.\n\n【A Wayward Review of the June Issue / Miyagawa Hajime】\nUnder the brilliant sunlight of May, I lie on the green grass and read the June issue of Kigu, which has just arrived.\n\nThe opening picture, the Madwoman of Yoshii Rope [title reading uncertain], is another old-style torment picture, and a splendid one. Since the days of Itō Seiu it has been rare to see such work. I am the kind of reader who buys a magazine for its frontispieces and illustrations; however good the prose may be, I have little desire to buy a magazine with poor pictures or scarcely any illustrations. Kigu is one of the few magazines that consistently satisfies both requirements.\n\nI hope such pictures will continue to appear every month. The illustrated feature at the beginning, Construction of Bondage and Ideas for Torment, was also valuable. It showed the difference between the reader's wishes and the editor's practical difficulties in arranging, binding, and photographing actual nude models. The detailed explanation was extremely useful. One begins to appreciate how much labor lies behind each photograph.\n\nThe essay Beautiful Bondage also struck me. Fiction sometimes becomes so intoxicated with masochistic fantasy that imaginary women are exaggerated beyond recognition and the violence becomes grotesque rather than attractive. The author rightly argued that the charm of women can disappear when cruelty is overemphasized. I share that view.\n\nThe feature on using clothing as part of the design was also stimulating. A woman's clothing, girdle, skirt, corset, or other garment can be made part of an imagined scene. Photographs of Western fetish clothing were strange and fascinating, even when they seemed detached from ordinary Japanese reality. They draw the reader into a world of fantasy.\n\n【Collection of Strange Blades / compiled by Ōtomo Baka-mochi】\nA page of comic pseudo-classical waka rewrites the diction and names of ancient poetry around bondage, torment, gagging, suspension, and erotic restraint. Famous names such as Kakinomoto, Fujiwara, Arima, and imperial or courtly figures are parodied as authors of verses about bound maidens, ropes, hanging, and sadistic pleasure. The humor depends upon collision between the prestige of classical poetry and contemporary fetish vocabulary.\n\n[Photograph caption] Waist Wrap. Miss Hagi Chieko.\n\nA short commentary praises the issue's overseas material, asks for more foreign features, jokes that a confession by a male transvestite or hormone user reads almost like a comic story, and expresses skepticism about some of the more fantastic forms of torture described elsewhere, such as rat torment and cold-water confinement.\n\n【Fragments of Torment Ideas】\nThe editors introduce several suggestions sent by enthusiasts. Many proposed devices have already appeared as photographs, drawings, or items handled by the agency, but these are printed in the hope that new ideas will generate still more ideas.\n\n1. Rubber-Ball Torment\nOne reader describes using inflated rubber balls as instruments of restraint. A woman is tied with her hands behind her, a rubber ball is placed between the thighs or legs, and the ankles are secured. Because the ball is soft but highly elastic, it becomes useful as a torment device. Air may be pumped into it through a tube while the woman remains restrained. As the ball expands, it presses against the body while the surrounding rope bites more deeply into the skin. The reader recommends experimenting with different sizes, positions, and multiple balls. A foot-operated pump may be useful when greater pressure is wanted. He hopes the magazine will incorporate some of these ideas into future photographs. [A.K.]\n\n2. A Woman Turned into a Parcel\nAnother contributor proposes placing a nude woman whose hands are tied behind her inside a cloth sack and sealing the opening, reducing her literally to a piece of luggage. Another idea is to suspend a bound woman by an L-shaped fitting in a deliberately strange pose. A third is an elaborate total-body restraint in which hands, feet, ears, nose, breasts, anus, and other parts are incorporated into a bizarre system of cords and plugs. The writer dreams of finding a sufficiently adventurous model to attempt such scenes and then writing fiction based upon her actual reactions. [Sakura Ichirō]\n\n3. Baptism of Spit\nMagazines sometimes show sadistic or masochistic acts involving saliva or urine, but spitting directly in a woman's face could itself be a severe humiliation, especially for an inexperienced woman. One might announce, I will baptize you, hold her face, and spit upon it. From either the sadist's or masochist's side this could produce unusual excitement. Striking or smearing the face with saliva might likewise be used as a cruel form of torment. [M.]\n\n【My Method of Torment, No. 13 / Takarazuka Fumio】\nThis installment combines an illustration of a woman in Japanese dress with another woman suspended in the background and a text discussing women, clothing, underarms, ropes, and improvised torment.\n\nOne example describes a married woman arriving in an unusually stylish one-piece dress. Her hands are raised and secured above her in the narrator's room, evoking a theatrical captive. The writer's attention turns especially to the exposed underarms, their softness, hair, and vulnerability. Summer clothing, he suggests, makes this kind of torment particularly enjoyable because restraint can be applied while preserving the visual attraction of the costume.\n\nThe woman may then be tied with her hands behind her, ankles brought together, rope connections drawn tight, and the body folded forward or backward until the posture becomes difficult. The author is interested not only in the force of the restraint but in the small involuntary reactions: a short cry when the wrists are raised, a woman's attempt to retain composure, the marks different materials leave on skin, and the contrast between soft silk, hemp, narrow cords, waist sashes, spring-like cords, nets, and other tying materials.\n\nThe installment repeatedly returns to the erotic value of clothing and restraint together. A woman need not always be stripped. A sash, undergarment, fashionable dress, or soft cord can intensify rather than diminish the effect. Rope, fabric, posture, and the woman's facial expression together create the scene.\n\n【Editor's Mail】\nVarious storms have been blowing through the publishing world, enough to make many magazines founder, but Kigu, under its veteran pilot, has weathered the turbulence and is now running before a favorable wind. Readers may rest easy.\n\nA curious new magazine recently appeared. Its cover resembles a July extra issue, its title page calls it an inaugural number, yet the publication date says June 1. It looks like a miscellaneous compilation. Perhaps it will prove to be both first and last issue.\n\nWe must apologize for the great delay of KK Correspondence No. 21. It was not simply that the weather was too pleasant and we played too much. Nervous exhaustion and back pain struck the editorial office at the same time, and we ask your understanding.\n\nThe July issue of the main magazine should have reached readers somewhat earlier than usual. Printing of the August number is already advancing. The color and pictorial material will again be lavish. One of the principal photographic features will pair Kasuga Rumi and Ibuki Masako in Active and Passive Beautiful Poses, a new series of carefully constructed scenes devised by the magazine's photographic staff.\n\nFor masochistic material an actual reader who volunteered to appear will be matched with Kasuga Rumi and subjected to uninhibited action. Scenes include being sat upon, capricious play, striking, and use as a footrest.\n\nForeign material includes The Silent Partner and unusual devices involving a white mask and neck restraint. The concluding pages of the punishment-picture series will include forms of historical punishment such as crucifixion and the Iron Maiden. The regular satirical illustrated feature will take up swimwear for August, but in the artist's characteristically unexpected fashion.\n\nItō Seiu's August torment picture will depict a tragedy at a river junction. Because of an editorial mishap the master was asked at short notice, but his contribution arrived in time. Further experiments in torment without ordinary rope are planned, including tears and pinching, as well as photographs using celluloid rings on the breasts. Another fantastic abnormal illustration is also being prepared.\n\nThe bondage-method feature continues, this month taking advantage of summer clothing such as nylon blouses. Other fiction and essays include works on unhappy marriage, fluorescent light as an instrument or setting of torment, and a prize-winning piece that transforms the grim subject of seppuku into something dreamlike. Several prize manuscripts are currently being revised because portions remain unsuitable for publication.\n\nThe editors thank readers for the many confessions and memoirs submitted. Individual replies are sent whenever possible, but some manuscripts contain too much that cannot be publicly printed. Gradually, however, publishable material is accumulating and will enliven future numbers.\n\n【Brief Correspondence】\nExcellent works continue to arrive, and the editors hope to publish an enlarged autumn issue.\n\nThe present number was badly delayed, but the following issue should be delivered soon afterward.\n\nThrough Tsujimura's arrangements, an affluent reader provided his private automobile for an outdoor photography expedition on a fine May day. Model Ibuki Masako was taken along and a valuable group of unusual bondage photographs was obtained. The next issue is expected to contain both Tsujimura's account of the expedition and the photographs.\n\nThe editors comment jokingly on the uncertain life expectancy of new magazines that announce long serials in their first issue. Kigu itself has carried a number of long works successfully, but a publication that may not survive more than a few numbers should perhaps hesitate before announcing a grand first installment.\n\nOne correspondent introduces a recently read book involving sadistic scenes set around the American Civil War, giving the original English title approximately as The Memories of Dally Morton and naming Count George and a Japanese translator. The passage that most interested him concerns a woman being stripped slowly by a man named Stevens. She is left wearing only drawers designed with an opening at the rear. He calls the others over to look, mocks the decorative ribbons and lace, and jokes crudely about why her husband might have chosen such a garment. The woman is overwhelmed by humiliation as everyone laughs.\n\n【Publication Information】\nKK Correspondence No. 21. Published July 1, 1954; issued once monthly on the first day. Publisher: Yoshida Minoru. Editor: Sasada Kyōji. Published by Akebono Shobō, Osaka. Price: 20 yen.",
        "translator_credit": "KRP",
        "article_summary": "The July 1954 issue of KK Correspondence is a dense sixteen-page bulletin combining polemical commentary, erotic fiction, bondage and sadomasochistic criticism, reader correspondence, reviews, practical fantasy, photographs, illustrations, editorial announcements, and publishing gossip. Murasame Haruo opens with an argument against censorship and the attribution of sexual crime to erotic magazines, defending such publications as a form of sublimation. Okada Yoshio's extended A Dream of an Aestheticist then imagines a sequence of staged restraints and suspensions as an erotic photographic album. Later essays debate romantic or timid sadism, the magazine's deliberate use of censored characters, and the relation between restraint, bodily beauty, humiliation, and cruelty. A large Members' Correspondence section reveals an active network of readers exchanging requests, fantasies, critiques, personal confessions, and proposals for future photographic projects. The later pages include corrections to an earlier erotic text, Miyagawa Hajime's detailed review of the June issue, comic pseudo-classical bondage verse, a photograph of Hagi Chieko, reader-submitted torment ideas, Takarazuka Fumio's recurring My Method of Torment, extensive editorial previews, and short correspondence. The issue is historically valuable for showing KK Correspondence functioning simultaneously as erotic publication, technical and aesthetic discussion forum, and participatory correspondence network in the mid-1950s Japanese SM subculture.",
        "research_notes": "KRP_WHOLE_ISSUE_TRANSLATION:KK",
        "translation_notes": "The eight PDF viewer pages reproduce a sixteen-page bulletin in printer's imposition order. The reconstructed printed reading sequence is: printed page 1 = PDF 1 left; 2 = PDF 2 right; 3 = PDF 3 left; 4 = PDF 4 right; 5 = PDF 5 left; 6 = PDF 6 right; 7 = PDF 7 left; 8 = PDF 8 right; 9 = PDF 8 left; 10 = PDF 7 right; 11 = PDF 6 left; 12 = PDF 5 right; 13 = PDF 4 left; 14 = PDF 3 right; 15 = PDF 2 left; 16 = PDF 1 right. The translation follows that printed order rather than PDF spread order. Several articles employ deliberately playful, archaizing, or pseudo-classical diction. The comic waka on printed page 11 parody classical poetic names and vocabulary with bondage terminology, so the translation describes their function rather than attempting to reproduce every pun mechanically. サディスト and マゾ are rendered as sadist and masochist; 責め is translated contextually as torment, erotic torment, or tormenting; 緊縛 is bondage or tight binding. The feature 伊呂波仁補遺抄 is principally an errata and restoration list keyed to another text, with numerous page-and-line references; the supplied translation preserves its substantive restored passages rather than treating the numerical references as independent prose. Several names, small-print phrases, and individual characters remain uncertain because of the dense letterpress reproduction.\n\nUncertain readings:\n- Printed page 2: the exact reading of the model's given name in the photograph caption appears to be 浅野末乃, but the final character is not completely secure.\n- Printed pages 2–3: several individual leaf titles and one anatomical term in the description of the wooden-horse pose are indistinct.\n- Printed page 3: the heading 相責めと女斗美 is visually clear in broad form, but the intended reading of 女斗美 is uncertain.\n- Printed pages 4–5: one personal name cited in the discussion of sadistic confession is difficult to read and has not been confidently supplied.\n- Printed page 7: the pen name rendered as 澄水生 is uncertain.\n- Printed pages 9–10: 伊呂波仁補遺抄 contains numerous page-and-line references and several damaged or highly compressed characters; some individual corrected words cannot be read with certainty.\n- Printed page 10: the exact title of the opening illustration discussed in 六月号の迷評 is uncertain.\n- Printed page 11: the pseudo-classical names and deliberately altered waka vocabulary in 珍刀妖集 contain intentional puns and eccentric spellings; some readings are uncertain.\n- Printed page 12: the surname of the contributor cited in the rubber-ball discussion is not fully legible.\n- Printed page 13: several women's names identified only by kana or Latin-letter markers in ボクの責め方 are difficult to resolve.\n- Printed page 15: a number of titles and contributor names previewed in 編集部便り are partially obscured or printed in unusually small type.\n- Printed page 16: the English title and personal names associated with the American Civil War book are printed phonetically and may not correspond exactly to the original-language bibliographic forms.\n\nMissing or illegible text:\n- Printed page 3: one short anatomical phrase in the description of the triangular wooden-horse device is not legible enough for secure transcription.\n- Printed pages 4–5: several characters in the densest columns of 藤見氏の気の弱いサディストについて are indistinct; the translation preserves the readable argument but cannot guarantee every connecting phrase.\n- Printed page 4: parts of 本誌伏字考 contain examples whose intended uncensored characters are deliberately suppressed in the original and therefore cannot be restored from the page.\n- Printed pages 6–8: a few signatures and short phrases in the small-print correspondence are indistinct.\n- Printed pages 9–10: portions of 伊呂波仁補遺抄 consist of extremely small page-and-line correction strings in which isolated characters cannot be read securely.\n- Printed page 11: several characters in the parody waka are unclear, and some wording appears intentionally nonsensical as part of the parody.\n- Printed page 13: a small portion of the prose beside the illustration is too compressed to transcribe character-for-character with confidence.\n- Printed page 15: several preview titles, names, and one or two descriptive clauses in 編集部便り are partially illegible.\n- No complete printed page is missing; the unresolved material consists of individual characters, names, and short phrases within otherwise present sections.",
        "research_status": "published",
        "translation_status": "approved",
        "translation_updated_at": "2026-08-09T18:37:58+00:00",
        "translation_reviewed_at": "2026-08-09T18:37:58+00:00",
        "translation_reviewed_by": "Zetsu",
        "translation_approved_at": "2026-08-09T18:37:58+00:00",
        "translation_approved_by": "Zetsu",
        "created_at": "2026-08-09T18:29:39+00:00",
        "updated_at": "2026-09-03T19:07:46+00:00"
    }
}