July 1961

The July 1961 issue of Fuzoku Kitan is organized around the feature theme Women and Men Subjected to Torment, examining erotic torment, bondage, humiliation, punishment, and relations between sadistic and masochistic desire. The issue combines an unusually large photographic opening section with erotic illustration, psychological and autobiographical essays, fiction, serialized narratives, reader material, and commercial notices. Its editorial character moves constantly between the documentary language of sexual inquiry and highly staged fantasy. The opening gravure sequence is one of the issue's dominant features. Under the general rubric Postures of Bondage Ecstasy: A World of Erotic Torment, models are shown bound in gardens, Japanese rooms, against pillars, on tatami, and in outdoor grass. Individual tableaux include Melancholy by the Pond, Bound in the Garden, The Captured-Leg Pose, Tied to a Pillar, The Captive Nude, The White Mermaid on the Cutting Board, Cast Down in the Grass, and Foot-Torment Poses. The photographs emphasize posture, exposure, rope pressure, shame, bodily imbalance, and the expressive effect of different environments. This is followed by a substantial selection of bondage illustrations by Furumasa Eisei, extending the same vocabulary of restraint into graphic fantasy. The central special feature approaches torment through several genres. Abe Sadayoshi's Tormenting the Female Body considers the psychology and bodily meanings of female submission and humiliation. Shimaki Ikuko's I Am Happy to Receive My Husband's Punishment is a first-person account in which marital domination, corporal punishment, sexual excitement, and domestic hierarchy become intertwined. Fujikawa Jun's A Selection of Elegant Bondage Scene Illustrations examines earlier Taisho and early Showa representations of women bound, suspended, restrained, and punished. Yasunaga Akira's At the End of Ecstatic Torment turns toward European and American cases of erotic cruelty and sadomasochistic obsession. Later material ranges from Natsukawa Kinuko's confession-like Account of an Enema Play for Two to the serialized Execution Order: The Biological Warfare Trial, which mixes wartime atrocity, experimentation, and sensational fiction. A further serial installment, Wandering in Ecstatic Torment: An Affair at Kyorakuso, occupies a large part of the later issue and develops an extended narrative of coercion, humiliation, sexuality, and violence. Reader Salon then provides letters, commentary, questions, and small notices, reinforcing the magazine's identity as a participatory community rather than merely a collection of erotic fiction and images. The closing pages contain advertisements for publications, photographs, specialty goods, back issues, ordering information, and an editorial note. Across its different modes, the issue repeatedly treats bondage and torment not simply as spectacles but as psychological, marital, aesthetic, and subcultural practices.

Title	Author	Printed Pages	PDF Pages
The Young Wife with a Dog	Uncredited	—	—
Communion of White and Black	Uncredited	—	—
Red High Heels	Tagami Keiko	—	—
Selected Torment Illustrations by Furumasa Eisei	Furumasa Eisei	—	21 –27
Postures of Bondage Ecstasy: A World of Erotic Torment	Uncredited	—	4 –20
Melancholy by the Pond	Uncredited	—	4
Bound in the Garden	Uncredited	—	5 –7
The Captured-Leg Pose	Uncredited	—	8
Tied to a Pillar	Uncredited	—	9 –10
The Captive Nude	Uncredited	—	11 –12
Foot-Torment Poses	Uncredited	—	13 –14
Shame of the Back	Uncredited	—	15 –17
The White Mermaid on the Cutting Board	Uncredited	—	18
Cast Down in the Grass	Uncredited	—	19 –20
Women and Men Subjected to Torment	Okumura Sekio	61	28
Binding Mother and Daughter Ogin	Shishimura Yutaka	—	—
Play in Riding Clothes	Ichinose Etsuko	—	—
I Am Happy to Receive My Husband's Punishment	Shimaki Ikuko	70–76	33 –39
A Selection of Elegant Bondage Scene Illustrations	Fujikawa Jun	77–83	40 –46
Tormenting the Female Body	Abe Sadayoshi	62–65	29 –32
Privacy in an Abject World	Okumura Sekio	—	—
Salon Masochistica	Uncredited	—	—
At the End of Ecstatic Torment	Yasunaga Akira	99–106	47 –54
The Homo Window	Uncredited	—	—
To My Beloved Friend	Kagawa Akihiko	—	—
The Ecology of a First Meeting	Kabiya Kazuhiko	—	—
From the Letters of a Masochist	Tani Jitta	—	—
Account of an Enema Play for Two	Natsukawa Kinuko	125–127	55 –57
Normal and Abnormal Are Separated by a Fine Line	Uncredited	—	—
My Favorite Spectacle of Masochistic Suffering	Himan Takashi	—	—
Wanda of the High Heels	Uncredited	—	—
My Solitary Stroll in Women's Clothes	Kuchiki Hiroko	—	—
The Cross-Dressing Enthusiast's Room	Okuma Sanae	—	—
Cross-Dressing Course: Creating a Woman's Skin	Uncredited	—	—
Continued: Complete Cross-Dressing	Umahashi Jiro	—	—
Reader Salon	Uncredited	184–187	78 –81
From the Editorial Office	Uncredited	194	88
Flame Emperor Temple: Black Tortoise Chapter	Ashidate Eikichi	—	—
Execution Order: The Biological Warfare Trial	Mano Rei	156–163	58 –65
Wandering in Ecstatic Torment: An Affair at Kyorakuso	Aoyama Miekichi	172–183	66 –77

The formal contents page is PDF page 3. The attached file contains several discontinuities in the magazine's printed pagination. Printed pages 62–65 correspond to PDF pages 29–32, followed by printed page 70 on PDF page 33, indicating that printed pages 66–69 are absent. Printed page 106 is on PDF page 54 and printed page 125 begins on PDF page 55, so printed pages 107–124 are absent. Printed page 127 is on PDF page 57 and printed page 156 begins on PDF page 58, so printed pages 128–155 are absent. Printed page 163 is on PDF page 65 and printed page 172 begins on PDF page 66, so printed pages 164–171 are absent. Several items listed in the formal contents therefore have no corresponding PDF viewer pages and are represented with null page mappings rather than invented ranges. The romanization of some pseudonymous or unusual author names, particularly the author attached to My Favorite Spectacle of Masochistic Suffering, should receive human review. The illustrated bondage portfolio beginning on PDF page 40 uses the fuller Japanese title 艶麗緊縛場面さし絵さわり集, while the contents page gives the shorter 艶麗緊縛さし絵集. The closing pages after Reader Salon are predominantly advertisements, back-issue listings, ordering information, photographic sales material, and the editorial note on PDF page 88.