Kitan Club

December 1963

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Summary

The December 1963 issue of Kitan Club combines photographic bondage studies, erotic illustration, personal confession, historical and pseudo-documentary inquiry, serialized fiction, reader communications, and miscellaneous research notes. Its formal contents page presents the publication as a deliberately varied anthology rather than a single-theme special issue. The opening section is unusually substantial: after advertisements and publication preliminaries, the issue presents sequential photographic portfolios of rope restraint, gagging, ankle chains, restrictive posing, kimono disarray, simulated medical or cutting scenarios, and staged domestic torment. These photographs are interleaved with a gallery of illustrations by Kurihara Shin, Shima Takashi, and other contributors depicting tattooed bondage, confinement in a shipping crate, sculptural restraint, female wrestling, workplace domination, disembowelment fantasy, and coerced dental examination.

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The principal prose section opens with Itojima Hiroshi’s prize-winning confession, The Man’s Sadism and the Woman’s Love, a first-person account of marriage, infidelity, jealousy, and consensual domestic bondage illustrated with private photographs. Sade Suto’s second installment of Thirteen Condemned Women turns to hanging and surveys imagined executions across several countries and historical settings. Kurushima Seiro’s masochistic story The Process of Submission follows a husband’s economic decline and progressive domination within marriage, while Tsujimura Takashi’s Thirtieth Night continues the magazine’s recurring collection of strange and erotic tales.

The middle portion broadens the issue’s register. It includes an experiential narrative involving intestinal parasites, another installment of the White Lily erotic-illustration series, a study of women’s sumo, and an installment of Dan Oniroku’s Flower and Snake. The Kiki Salon miscellany gathers short reports and curiosities concerning model photography, unusual sexual practices, film scenes, femininity, and representations of the body. Later essays and confessions examine a dancer subjected to punishment, ideas for distributing private photographs, kimono fetishism, fascination with ritual disembowelment, enemas and intestinal cleansing, sadistic storytelling, lesbian fantasy, and attraction to large-bodied women.

The final major contribution profiles contemporary female courage through the case of Mikoshiba Mari. It is followed by extensive correspondence, confessional fragments, editorial notices, club information, classified advertisements, and personal-contact material. These closing sections reinforce Kitan Club’s dual identity as a commercial magazine and a participatory community in which readers exchanged experiences, fantasies, photographs, requests, and practical information. Across the issue, staged realism and imaginative extremity repeatedly overlap, producing an editorial world in which personal testimony, fictional cruelty, historical curiosity, and visual performance are treated as neighboring forms of erotic research.

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Table of Contents 34 items
  1. Opening Rope-Bondage Gravure
    6–8
  2. Women in Ankle Chains
    9–10
  3. Kimono Bondage and Staged Torment
    11–13
  4. Beauty and Tattooing by Kurihara Shin
    14
  5. The Woman in the Shipping Crate by Shima Takashi
    15
  6. Production of a Nude Sculpture by Shima Takashi
    16
  7. Untitled Illustration
    17
  8. Female Sumo in the Tatami Room
    18
  9. The President's Office Mistress by Shima Takashi
    19
  10. Disembowelment of a Female Ninja by Shima Takashi
    20
  11. Dental Examination by Shima Takashi
    21
  12. Cord-Bondage Model Study
    22–24
  13. Staged Domestic Torment Sequence
    25–28
  14. Additional Rope-Restraint Studies
    29
  15. The Man's Sadism and the Woman's Love by Itojima Hiroshi
    34–39
  16. Thirteen Condemned Women, Part Two: Hanging by Sade Suto
    40–50
  17. The Process of Submission by Kurushima Seiro
    51–55
  18. Tales of the Thirtieth Night by Tsujimura Takashi
    56–72
  19. Intestinal-Worm Account by Kurise Cho
    73–75
  20. White Lily Selection: Erotic-Cruelty Illustrated Lantern, Part Two by Manda Fujin
    76–82
  21. A Study of the History of Women's Sumo, Part Seven by Okahira Yoshio
    83–87
  22. Flower and Snake, Part Five by Dan Oniroku
    88–96
  23. Kiki Salon
    97–112
  24. Memoirs of Customs: Tormenting a Beautiful Dancer by Koshihara Hideyoshi
    113–121
  25. Ideas for Distributing Photographs by Nagato Hiroshi
    122
  26. Kimono, Kimono Stories by Maki Takashi
    123–131
  27. Disembowelment Experience: Longing for Seppuku by Tsuda Akiko
    132–135
  28. Enema Mania: Daydream by Tojiro
    136–140
  29. Sadistic Story Series: Hatsuko and the Man by Onaka Tadashi
    141–145
  30. Mania Correspondence: To Miss Yuriko, Whose Wish Came True by Nakada Akira
    146–154
  31. Continued: From the Town of Wind — Mayumi Yamabe's Confession by Yamabe Mayumi
    155–161
  32. Confession: Longing for a Plump Woman by Toi Ryuji
    162–163
  33. Once Again on a Journey of Erotic Cruelty: The Land of Fire by Hosen Satoko
    164–171
  34. Contemporary Heroines: The Case of Mikoshiba Mari by Morooka Tateo
    172–183

Highlights

  • The opening gravure sequence presents rope bondage, gagging, ankle chains, kimono restraint, and staged scenes of coercive control in studio and domestic interiors. (PDF pp. 6–13, 22–29).
  • The opening illustrated gallery includes tattooed bondage, confinement in a shipping crate, sculptural restraint, female wrestling, workplace domination, disembowelment fantasy, and dental examination. (PDF pp. 14–21).
  • The Man's Sadism and the Woman's Love combines an autobiographical marital narrative with private bondage photographs, presenting negotiated restraint as part of a continuing intimate relationship. (PDF pp. 31–36).
  • The second installment of Thirteen Condemned Women surveys hanging fantasies involving women from several countries and historical settings. (PDF pp. 37–47).
  • The Process of Submission depicts the progressive reversal of authority within a marriage after the husband's professional and financial decline. (PDF pp. 48–52).
  • The issue continues Dan Oniroku's Flower and Snake, a central serialized work in the magazine's literary program. (PDF pp. 85–93).
  • The Kiki Salon section assembles compact reports on erotic models, film imagery, bodily fetishes, unusual sexual practices, and reader-supplied curiosities. (PDF pp. 94–109).
  • Late confessional pieces explore ritual disembowelment, enemas, sadistic fantasy, lesbian desire, and attraction to large-bodied women. (PDF pp. 129–168).
  • The closing profile of Mikoshiba Mari forms part of a series on contemporary courageous women and shifts the issue from erotic confession toward biographical admiration. (PDF pp. 169–180).
  • Reader letters, club notices, personal advertisements, editorial matter, and publication information document the magazine's function as a participatory network. (PDF pp. 181–205).
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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