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Fuzoku Kitan

September 1961

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Cover of Fuzoku Kitan, September 1961

Issue Details

PDF pages
133

Summary

The September 1961 issue of Fuzoku Kitan is organized around an unusually large concentration of bondage photography, illustrated erotic fantasy, discussions of sadomasochistic play, historical punishment, fetish imagery, personal testimony, and reader correspondence. The opening pages are almost entirely visual. The gravure section titled Poses of Bondage moves through a sequence of domestic and outdoor rope tableaux, including women bound on tatami, beside stacked firewood, at a riverbank, in a garden, and in other staged settings. It is followed by a sepia illustrated portfolio of bound schoolgirls and a group of Western bondage photographs, including material attributed in the contents to Luis Avila. These opening portfolios make rope restraint and the posed female body the issue’s dominant visual language before the prose section begins.

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The principal editorial feature is Men and Women Intoxicated by Sadomasochistic Play. Its contributions approach SM from several directions rather than presenting a single theory. Ōdachi Kinji discusses the function of unconventional play; Shishimura Yutaka’s illustrated fiction Chigi Chōkyō-zu dramatizes erotic compulsion; Kurihashi Shingo treats wrestling and physical struggle as pleasurable play; Ichinose Etsuko writes on the symphony of SM; Kasahara Mitsuo examines the pleasure of applying moxa to white skin; and Kanno Chiyoko describes five forms of enema play. The section’s mixture of essays, confessional writing, fictional scenarios, and instructional or observational material demonstrates the magazine’s tendency to place erotic practice, fantasy, and quasi-sexological commentary beside one another.

The issue then broadens historically and internationally. Sengoku Sentarō’s retrospective feature on people who died under torment surveys punishment and execution imagery from earlier periods, while a substantial pictorial feature presents Bettie Page as a Western queen of masochism. The later prose includes Stolen Hair Diary Extracts, a narrative centered on fetishistic hair cutting, and Blood-Tide Banquet, an illustrated work subtitled The Death of the King of Salome. The recurring series Wandering in Ecstatic Torment reaches its fifth installment with The Woman with Scars, a lengthy first-person narrative of erotic compulsion, memory, pain, and relationships.

The closing portion changes register again with Reader Salon, several pages of letters and reader exchanges that reveal the participatory community surrounding the magazine. Advertising and publisher pages promote back issues, erotic books, photographs, and correspondence opportunities, functioning as a catalog of the wider erotic publishing economy around Fuzoku Kitan. Overall, the issue joins Japanese rope imagery, female domination, physical ordeal, fetish confession, historical punishment, imported Western imagery, and reader participation into a publication that is simultaneously pictorial, literary, quasi-documentary, and communal.

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Table of Contents 18 items
  1. Poses of Bondage
    Gravure
  2. Schoolgirl Punishment Picture Scroll
    Color pictorial
  3. Works by Luis Avila by Luis Avila
    Color pictorial
  4. The Function of Abnormal Play by Ōdachi Kinji
    51
  5. Chigi Chōkyō-zu by Shishimura Yutaka
    52
  6. The Playful Pleasure of Wrestling by Kurihashi Shingo
    64
  7. The Symphony of SM by Ichinose Etsuko
    68
  8. The Pleasure of Applying Moxa to White Skin by Kasahara Mitsuo
    78
  9. Five Forms of Enema Play by Kanno Chiyoko
    84
  10. Looking Back on People Who Ascended to Heaven Amid Torment by Sengoku Sentarō
    99
  11. Stolen Hair Diary Extracts by Hai Geitei
    118
  12. Queen of Masochism: Bettie Page
    Pictorial
  13. Blood-Tide Banquet by Oikawa Jun
    162
  14. Wandering in Ecstatic Torment, Part 5: The Woman with Scars by Aoyama Mie
    170
  15. Reader Salon
    183
  16. Fuzoku Kitan: Notices
    188
  17. Agency Photograph List
    192–193
  18. Publisher Information and Calls for Submissions
    194

Highlights

  • The opening Poses of Bondage gravure builds an extended visual vocabulary of rope restraint through tatami-room, riverbank, garden, and outdoor settings, making bondage photography the issue's dominant opening statement. (PDF pp. 5–23).
  • The schoolgirl punishment picture scroll presents a sustained sepia-toned series of bound and tormented schoolgirls, including post restraints and elaborate rope arrangements. (PDF pp. 24–32).
  • A Western photographic portfolio attributed in the contents to Luis Avila follows the Japanese schoolgirl illustrations and includes bed restraint and rope-bondage imagery, demonstrating the magazine's incorporation of foreign fetish material. (PDF pp. 33–37).
  • Men and Women Intoxicated by Sadomasochistic Play forms the issue's central editorial cluster and combines essays, fiction, illustrations, personal observations, wrestling, pain play, moxibustion, and enema practices. (PDF pp. 38–74).
  • Looking Back on People Who Ascended to Heaven Amid Torment surveys historical punishment and execution scenes through illustrated episodes, shifting the issue from contemporary erotic play toward retrospective punishment culture. (PDF pp. 75–82).
  • The Bettie Page portfolio presents the American fetish model through imported photographs emphasizing bondage, domination, boots, restraints, and female-on-female scenes. (PDF pp. 93–100).
  • Blood-Tide Banquet, subtitled The Death of the King of Salome, combines dramatic illustration with an eroticized narrative of violence, death, and spectacle. (PDF pp. 101–108).
  • The fifth installment of Wandering in Ecstatic Torment, The Woman with Scars, is one of the issue's longest later narratives and centers on erotic memory, bodily marks, compulsion, and intimate relationships. (PDF pp. 110–121).
  • Reader Salon occupies a substantial closing section and records reader questions, experiences, desires, and exchanges, revealing the participatory social world surrounding Fuzoku Kitan. (PDF pp. 122–126).

Contributors

Named contributors represented in this issue:

Kinbaku Today is an independent online journal dedicated to the study, practice, and cultural history of Japanese rope bondage. Blending essays, translations, interviews, and archival research, it explores kinbaku not simply as technique, but as a living dialogue between history, performance, and human connection.
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