Nureki Chimuo Archive

Dear ○○○○-sama. This is in response to your message.

I have indeed received, addressed to me, Nureki Chimuo, an envelope labeled “Japan Post Letter Pack Light” containing a beautifully prepared document, twenty-four sheets of A4-size paper with small text neatly arranged.

Inside was a letter from you, typed on a word processor.

“I would like to discuss this matter with Nureki Sensei,” it stated. However, I am truly sorry, but I am currently tied up with work and it seems unlikely that I will be able to meet your expectations.

I felt it would be rude to simply say I am busy, so I decided to take a look at my schedule for the next few months.

Right now, my desk and my mind are in utter chaos and I’ve reached a point where even I don’t know where to begin, so I thought I’d take this opportunity to try to get things organized a bit.

First, I’ll make a quick note of the manuscripts I need to write within the next week starting today.

First, there’s the article titled “Dear Editor, This is Nureki Chimuo, Bondage Specialist,” which appears in every issue of the bimonthly magazine “SM Net.” I need to write the twenty-ninth installment of this serialized column.

Next is the essay “Nureki Chimuo’s Testament of Obscene Pleasure,” a monthly serial I write for WEB Sniper. The next installment will be the forty-third.

Furthermore, although it’s technically my personal website, the title is “Nureki Chimuo’s Talking Theater.”

For this, Director Nakahara of the Sex Industry Museum takes care of all the tedious computer work, everything from start to finish, except for writing the manuscript itself, and this will be the 208th installment.

Since I know absolutely nothing about computers, I don’t use word processors at all. I write all my manuscripts by hand on 400-character manuscript paper. Director Nakahara is the one who formats them for the computer and posts them online.

I started writing this “Talking Theater” six or seven years ago and it has now reached 2,800 pages. Thankfully, a representative from a certain publishing house has offered to compile and publish it as a book, and discussions are currently underway.

Each of the three types of serialized essays mentioned above is about ten pages long per installment. In the early days of “Talking Theater” there were episodes that were nearly twenty pages long.

In 1953 (Showa 28), when I was twenty-three years old, I published a novel in “Kitan Club,” Japan’s first monthly SM magazine. Since then, for the past sixty years, I have been involved in SM-related work. The essays I mentioned are autobiographical accounts of my childhood, my approach to and thoughts on SM, my experiences, and other topics, all written with great care to avoid causing any inconvenience to the people who have been kind to me.

Apart from these serialized works, I have been writing a full-length biography titled “The Story of Minomura Ko” (working title) for several years now.

To date, I have completed about 350 sheets of 400-character manuscript paper, but this, too, requires a bit more refinement.

This manuscript chronicles the achievements of Minomura Ko, who founded “Kitan Club,”14 a commercial magazine specializing in SM, in the midst of the chaotic social climate immediately following Japan’s defeat in the Pacific War, complete with a chronology, and also includes a record of my own journey.

I have already handed over the manuscript, enough for a single book, to the publisher’s editorial department, and I am scheduled to write an additional 300 sheets or more for the second volume. I must now immediately begin compiling the chronologies of Minomura Ko and myself, Nureki Chimuo.

14

This is a matter of some debate. It’s known Minoru Yoshida was the actual founder of Kitan Club, but the issues before Minomura Ko’s involvement are not in the Nawa Art archive. In the 1989 documentary “Jo-En: The World of Minomura Ko,” directed by Yukimura Haruki, Minomura Ko says that Kitan Club didn’t include SM content until he convinced Minoru Yoshida to include it.

The same publisher has been releasing a modest yet solid series titled “Interviews with Publishers,” which has continued for nine volumes to date, and my life story is set to be included in one of the volumes in that series.

At first I said, “I don’t have the background or track record to be called a publisher,” declining the offer. However, after being persuaded again and gradually won over by their enthusiasm, I came to see it as a privilege and mustered the courage to accept.

I am mentally prepared to begin concrete discussions about turning this into a book as soon as our schedules align.

To ensure this book is as substantial as possible, I intend to put my heart and soul into creating an even more detailed and accurate chronology of my own life.

For the time being, I will continue to visit the Sex Industry Museum in Iidabashi and rely on the support of Director Nakahara. Director Nakahara, I know this may be an inconvenience for you, but I would greatly appreciate your continued assistance.

All of the above relates to publishing work but I am also somewhat involved in theater production, which is taking up quite a bit of my time as well.

In fact, I am currently in the process of writing a play called “Momotaro by the Sea.”

While this has no direct connection to SM, it is an important project for me so I must see it through to completion.

Momotaro, the most famous character in Japanese folklore, accompanied by a dog, a monkey, and a pheasant, comes to the seashore in search of a boat to defeat the ogres living on Ogre Island.

However, the sea has been contaminated by radiation, making it impossible to cross. Not only the sea, but the land as well is gradually being engulfed by the ashes of death.

Before Momotaro and his companions, standing on the seashore, characters from fairy tales, such as Kintaro of Mount Ashigara, the monkey and crab from “The Battle of The Monkey and the Crab,” and Issun-boshi and the princess, appear one after another.

The area is shrouded in the ashes of death, and the play explores what will become of Momotaro and his companions’ quest to defeat the ogres. I’ve written about thirty pages so far. It’s still unfinished.

Every time I finish writing a scene, this script is copied, and the actors in my theater company read it aloud during a script reading.

I’m currently thinking about how to end this play, whether to leave even a glimmer of hope at the very end, or to bring about the extinction of humanity. When it’s finished, I intend to appear in the play myself as an actor. I’m a show-off, so I always show up for the script readings.

In addition to my activities with this theater company, I also belong to a group dedicated to a certain unique traditional storytelling art form. Not only do I attend the monthly study sessions, but for the past twenty years I’ve also taken the stage every year to perform.

I seem to have rambled on a bit here. If I’m not careful, writing things like this might make me sound like a foolish old man who’s still busy at the age of eighty-three, just bragging about himself.

That’s not my intention at all. When you’ve lived for eighty-three years, nothing you do is worth bragging about and you don’t get disappointed even if people speak ill of you.

After all, I’ll be dead soon and then it’ll all be over.

Speaking of bragging, for the past few years I’ve been indulging in what is, for me, truly ideal SM pleasure play, and I’m currently right in the thick of it. Though it’s only a tiny part of it, I occasionally confess even the embarrassing details honestly in the three series of essays I mentioned earlier.

I would be most grateful if you would read them.

I believe that this SM-style pleasure play, which will likely be the last of my life (though I detest the frivolous term play and prefer not to use it), is the pure and supreme form of play, free from financial or commercial bargaining, that I have finally discovered after pursuing it tirelessly for the past eighty years.

That is why I spare no time or energy for this ongoing experience alone. Even at the expense of my other work, I lavish my time and energy on it.

With that, I have at length explained my personal circumstances, which may not meet your expectations, without regard for any potential offense.

Dear ○○○○-sama. I would be most grateful if you could understand this, even just a little.