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Kitan Club

February 1975

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Cover of Kitan Club, February 1975

Issue Details

Volume
29
Issue
2
PDF pages
175

Summary

The February 1975 issue of Kitan Club combines an unusually extensive opening photographic presentation with first-person reportage, erotic fiction, experiential testimony, aesthetic essays, serialized narratives, and reader-oriented confessional writing. Its editorial identity rests on the interplay between staged visual documentation and prose that presents sadomasochistic desire as autobiography, observation, fantasy, craft, and subcultural inquiry. The opening section is dominated by photographs associated with Fukada Kikuko, showing varied rope configurations, restrained poses, domestic interiors, suspension arrangements, and alternating black-and-white and color treatments. These images lead directly into Tsukamoto Tetsuzō’s long camera-and-pen report, “Everything About the Woman Who Gave Herself Up, Kikuko,” which follows Fukada’s impending marriage, recalls bondage sessions and travel, and reflects on the photographer-participant’s fascination with her behavior, appearance, and submission.

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The middle portion broadens from this central personality study into several genres. Mizue Shin’s illustrated fantasy memoir recounts an encounter with an eccentric or unconventional woman. Kashiwagi Hajime’s confession, “The Proposition of Rope,” considers the shifting relationship of sadistic and masochistic impulses. Chiba Seiki’s long-running novel “The Great Eruption” supplies serialized fiction, while Hitomi Yōtarō’s “Scarlet Peony Passion” and Tachibana Uchio’s “An Unusual Wakame-Sake Incident” present intimate experiential narratives. Tonegawa Gorō’s essay “Woman: The Mysterious Part” moves toward interpretive commentary, followed by Funabashi Ichirō’s continuing study “The Aesthetics of Questioning,” which treats interrogation as a structured erotic and psychological practice.

Later sections return repeatedly to bodily ordeal and the aesthetics of restraint. Yoshiya Kazuko contributes a first-person account of experiencing simulated seppuku. Saji Asazō’s twelfth installment of “The Female Prisoner” extends the magazine’s serialized captivity fiction, and Shuchi Yoshiharu’s “A Sonnet for the Three Beautiful Flowers” shifts briefly toward poetic address. Shinkawa Hiroo’s “Gag” and Roman-ha Sei’s concluding “Aesthetics of Binding” examine devices, poses, visual composition, and the expressive possibilities of restraint. Aoyama Ken’ichi’s confession about an older woman places SM within youthful sexual memory, while Fūryū Gokudōken’s period novel “The Gate of Shiran” gives the closing fiction a historical register. The final pages contain Umekawa Sachiko’s memoir of an alluring rubber raincoat and Satō Mitsuyasu’s prize-winning “Nostril Photography Meeting,” a testimonial centered on fetish photography and bodily close-up. Across these sections, the magazine presents itself not merely as a collection of erotic images but as a participatory forum in which models, photographers, writers, correspondents, and readers document and theorize a shared SM culture.

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Table of Contents 18 items
  1. Naked Portent of a Wicked Prank by Inoue Kōtarō
    29
  2. Everything About the Woman Who Gave Herself Up, Kikuko by Tsukamoto Tetsuzō
    30–59
  3. My Encounter with Youth and the Strange by Mizue Shin
    60–65
  4. The Proposition of Rope: The Intersection of S and M by Kashiwagi Hajime
    66–69
  5. The Great Eruption, Part 76 by Chiba Seiki
    70–77
  6. Scarlet Peony Passion by Hitomi Yōtarō
    78–86
  7. An Unusual Wakame-Sake Incident by Tachibana Uchio
    87–91
  8. Woman: The Mysterious Part by Tonegawa Gorō
    92–97
  9. The Aesthetics of Questioning, Continued by Funabashi Ichirō
    98–107
  10. An Experience of Seppuku by Yoshiya Kazuko
    108–113
  11. The Female Prisoner, Part 12 by Saji Asazō
    114–127
  12. A Sonnet for the Three Beautiful Flowers by Shuchi Yoshiharu
    128–131
  13. Gag, Part 4 by Shinkawa Hiroo
    132–141
  14. The Aesthetics of Binding, Final Installment by Roman-ha Sei
    142–147
  15. An SM Affair with an Older Woman by Aoyama Ken'ichi
    148–151
  16. The Gate of Shiran by Fūryū Gokudōken
    152–164
  17. The Alluring Rubber Raincoat by Umekawa Sachiko
    165–169
  18. Nostril Photography Meeting by Satō Mitsuyasu
    170–177

Highlights

  • An extended opening portfolio presents Fukada Kikuko and other models in diverse rope arrangements, ranging from floor bondage and spread-eagle poses to suspension and color studio compositions. (PDF pp. 3–26).
  • Tsukamoto Tetsuzō's camera-and-pen report “Everything About the Woman Who Gave Herself Up, Kikuko” combines autobiographical narration with photographs, tracing Fukada Kikuko's marriage plans, travel, bondage sessions, and the narrator's changing relationship to her. (PDF pp. 28–57).
  • Kashiwagi Hajime's “The Proposition of Rope” frames bondage through a personal account of the interdependence and instability of sadistic and masochistic identities. (PDF pp. 64–67).
  • Chiba Seiki's serialized novel “The Great Eruption,” installment 76, demonstrates the issue's continued investment in long-form erotic fiction alongside documentary and testimonial material. (PDF pp. 68–75).
  • Tonegawa Gorō's “Woman: The Mysterious Part” shifts the issue toward interpretive commentary on female sexuality and masculine uncertainty. (PDF pp. 90–95).
  • Funabashi Ichirō's continuing essay “The Aesthetics of Questioning” examines interrogation as an eroticized form governed by technique, psychology, authority, and performance. (PDF pp. 96–105).
  • Yoshiya Kazuko's “An Experience of Seppuku” records a staged bodily ordeal in first-person form, illustrating the magazine's characteristic blending of ritual imagery, physical sensation, and experiential confession. (PDF pp. 106–111).
  • Roman-ha Sei's final installment of “The Aesthetics of Binding” discusses restraint as visual composition and embodied technique, supported by photographic examples. (PDF pp. 140–145).
  • Aoyama Ken'ichi's “An SM Affair with an Older Woman” situates sadomasochistic experience within youthful recollection, confession, and the emotional dynamics of an age-disparate relationship. (PDF pp. 146–149).
  • Satō Mitsuyasu's closing testimonial “Nostril Photography Meeting” documents a specialized fetish photography session and provides evidence of the magazine's prize-supported amateur contribution culture. (PDF pp. 168–175).

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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