Nureki Chimuo Archive

We’ve received various impressions and reactions to “Bondage: As Long as I Live.” It’s truly gratifying to receive such a positive response. Thank you very much. It’s lonely when someone doesn’t say anything or ignores you. I’d like to thank everyone who sent me something, but given the nature of the book’s content, I can’t really do anything concrete. I can only express my gratitude and introduce you here. The email I received from C-san had a somewhat different tone than usual, and I thought anyone who read it would find it interesting. So, as usual, I’ll transcribe it here while omitting any personal details. ＊ ＊ ＊ I suppose I had a prejudice against people like “rope masters” or “trainers.” I thought he was some oddly pretentious person, wearing what looked like a suspicious-looking work uniform with an air of self-importance. Since he was acting so high and mighty after committing the outrageous act of tying up a woman with rope, I really did think he was truly a great man. Since he was someone who could strip a woman naked and bind her at will, I sometimes thought he must be a remarkable person, certainly different from ordinary folk. Looking online, there are indeed “rope masters” who charge money to teach many people the art of binding women with rope.

I figure he must be someone important, since he bestows ranks and grades upon those who seek his teachings. (Needless to say, this is ironic.) First, I find titles like “rope master” or “trainer” to be arrogant, distasteful, and pretentious. They have a strangely dubious air about them. I get the feeling that video producers and magazine publishers are deliberately making a big fuss about terms like “rope master” or “trainer” in a pompous, pretentious, and grandiose manner, just to somehow add value to the products they’ve created. Reading Nureki-san’s “Bondage: As Long as I Live,” one vividly sees that even a master rope artist like him struggles with inferiority complexes on the same level as us, sometimes loses his way, is swayed by lust, and suffers deeply. I found myself intrigued by the way inferiority complexes could be glimpsed lurking behind confidence, pride, and conceit. The profoundly human sentiments, shared by us enthusiasts, can be sensed within the simple prose. I came to understand that even a “rope master” is nothing more than just one of many occupations. Just because they lead a life somewhat different from that of the average working person, it doesn’t mean they’re some unreachable figure. Magazine publishers and the like are relentlessly hyping him up, treating him like someone from another dimension, like someone above the clouds, but it’s interesting that Nureki-san denies all of it. That’s impressive. In his commentary, Nakahara Rutsu-san states, “Nureki-san’s literary world offers the boundless pleasure of experiencing supreme delight itself. Within it lies the pleasure and happiness of imagination, a privilege reserved for those with rich imaginations. In this sense, I am convinced that Nureki-san’s works, unchanged for fifty years, express his own profound depths and are romantic ‘pure literature.’” However, I particularly sensed the scent of pure literature in the parts where Nureki-san reveals his own feelings of inferiority. Reading Nakahara-san’s commentary, one can’t help but wonder if Nureki-san’s seemingly superhuman achievements are actually true.

I was aware of some of Nureki-san’s pen names as a writer, but through Nakahara-san’s commentary, I was able to learn the details. Even this alone makes this commentary a labor of love that goes beyond a mere formal commentary. Without reading the majority of the novels he published over several decades, one could not write such an analysis. The author of the main text is undoubtedly a true enthusiast, but I was equally impressed by the commentator’s unmistakable passion. I was deeply moved by this sincere and enthusiastic commentary. In fact, as an enthusiast myself, I’ve been aware of Nureki-san’s work for quite some time. I suppose you could say I’m just one of the fans. From the moment the name Nureki Chimuo appeared, one can place trust in the consistency of his approach and principles regarding SM. Nakahara Rutsu-san must have placed great value on this aspect and therefore agreed to provide commentary. That’s all I had to say, just a rambling collection of thoughts. Nureki-san’s latest book is particularly fascinating in its revealing and unflattering passages, which left a deep impression on me. I would like to reiterate that point. Having laid their true feelings bare like this, as an enthusiast, I have no choice but to trust them. ＊ ＊ ＊ That was all, but then C-san suddenly confessed his sexual preferences. I was deeply moved by how much more real, passionate, and fascinating the emotions poured out in these articles are, compared to the ones often assumed to be editorial fabrications in SM magazines. However, since this is likely considered “personal information,” I cannot post it here. I will recommend to C-san that it be published in some form. Of course, anonymity is perfectly acceptable. The truth’s confession will save the hearts of many enthusiasts and heal their troubles.

Conversely, I should point out that “SM merchandise” produced based on low-level, popular understanding and interpretation is looked down upon by the enthusiast readers, who absolutely will not buy it. Not just enthusiasts, even “normal” general readers wouldn’t buy fake, flimsy “SM products” that lack any sense of authenticity. Looking up the word, “コケおどかし: kokeodokashi” in the dictionary. Ah, there it is, found it. Hmm, so it’s written as “虚仮脅し.” I see. The meaning is, “Something that’s only exaggerated on the surface. A shallow, frightening manner. An empty threat.” Oh, I’ve gone and written something unnecessary again. I really must stop being so talkative. We also received many other favorable comments. I hesitate to say this here, as it might seem like I’m pandering to Nakahara Rutsu-san, the director of the sex museum, but there are so many compliments directed at him for writing the “commentary.” Seriously, there are so many. I looked up the kanji for “to flatter” in the dictionary, and lo and behold, it’s written as “阿 る”. I had no idea! I am, after all, an uneducated person. Just seeing the character “阿る” written there, I simply cannot read it as “おもねる. (omoneru)” I read it as “ある54 ”. Come to think of it, it’s the “阿” in “阿諛追従” (ayutsushio)55 . The meaning of “阿る” is “to curry favor with someone, to flatter, to fawn over.” Well, to be perfectly honest, I do have a certain feeling of flattery toward him. This word means excessive flattery. Pronounced “aru.” I’m honestly not certain why this is, unless it’s a difference in dialect.

The reason is that when I asked him to write the “commentary” for my book, he initially refused, saying he couldn’t write something like that. I refused to give up, prostrated myself at his feet, and persistently pestered him until I finally persuaded him. My persistence paid off, and I finally succeeded in getting him to write it for me. The results were very well received. First and foremost, the editors at Kawade Shobo Shinsha were delighted. Thank you very much. Here again, with a touch of flattery, I will now transcribe only the portions concerning the “commentary” from the feedback sent to me. If you read it, you will understand that I am not introducing it merely out of flattery. After reading his “commentary,” everyone was impressed and submitted thoughtful, meaningful essays. First, the litter I received from D-san. “I was deeply impressed by how this book captures the historical flow of SM magazines, including the mentalities of editors and writers, while remaining remarkably accessible. The meticulous care shown goes beyond what one might expect from the nature of the work, truly remarkable. Director Nakahara Rutsu’s commentary further elevates the value of this book.” This D-san is actually the editor of the magazine that has me write the “Nureki Kinbaku Diary” every month. That serialized work was compiled into a single volume titled “Bondage: As Long as I Live.” “Nureki Bondage Diary” is currently serialized monthly in “SM Sniper.” Next, a letter sent to us by E-san. “Nureki Sensei writes with such remarkable freedom and ease, expressing whatever he wishes. That’s why reading him is so enjoyable. There are serious moments, but overall it feels bright. And as the commentator on Nureki Sensei’s work, Nakahara-san is the perfect person. The most suitable person has written the best commentary. There couldn’t be a better piece introducing Nureki Sensei’s past and present work. The only time a better piece might appear would be if Nakahara-san himself were to write something even better.”

Next, I will excerpt and introduce only the portions concerning the “commentary” from the letter I received from F-san. “This commentary was truly educational. During what’s called the golden age, a tremendous number of SM magazines were published. And unlike today, they were rich in content, covering a wide range of topics, and were enjoyable SM magazines closely tailored to the enthusiast reader. Learning about this from Nakahara Rutsu-san’s commentary felt like a dream. The history of SM magazines is, in itself, the very history of Japan’s SM culture. History isn’t recognized as such by future generations unless it’s firmly recorded somewhere. So the Sex Industry Museum is essentially the place where Japan’s SM history is documented.” When I read this letter from F-san, I realized, “Ah, so that’s it. If the actual ‘Kitan Club’ hadn’t existed, then neither the existence of those postwar SM enthusiasts nor their intellectual history would have ever come into being in this world.” As I wrote before in this “Talking Theater,” even an SM magazine for enthusiasts is ultimately produced for profit. Therefore, once profits disappear, issuance will immediately cease, and it is destined to vanish. No matter how lovingly an individual collects and preserves materials, once that person is no longer in this world, that is, once they die, the materials and historical records they kept will immediately vanish. I’ve been in this world for a long time, so I’ve seen the scene of materials being destroyed time and time again. (What? You say SM has gained acceptance? Hmph, don’t spout such nonsense!) I looked up the word “きいたふう(kiitafu)” in the dictionary. So it’s written as “利いた風,” huh. Using only hiragana conveys the feeling better than mixing in kanji. “Acting like a know-it-all with a smug attitude. Pretending to know things.” That's what it means. Regardless of the form, we need people who will faithfully preserve and pass on SM historical materials and resources. Because if I die, the world I’ve been passionately involved with until now would vanish completely. That’s just too sad, isn’t it?

I know full well that when a person dies, their consciousness vanishes along with them. But isn’t it enough to simply think that after I die, there will be someone who will lovingly and properly inherit the materials I collected, risking my very life to gather them. Just thinking that way brings peace of mind and allows me to die happily. (Those who spout nonsense like “SM has gained acceptance!” probably have no idea how ruthlessly the families of deceased enthusiasts discarded the very materials they painstakingly collected. Due to my profession, I’ve witnessed this heartbreaking scene multiple times. I myself have experienced having precious, cherished materials from the Kitan Club era discarded by family members, even while I was still alive. Far from gaining acceptance, to me it seems SM is only becoming more shunned.) In that sense, too, the presence of someone like Nakahara Rutsu is truly appreciated. Sometimes I seriously wonder if this person might be the god of SM sent down from heaven. Oh? What was I trying to write? Wasn’t I supposed to be promoting my own work, “Bondage: As Long as I Live”? Where did I go off track? I’m just too talkative for my own good.