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Fuzoku Kitan

July 1961

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Cover of Fuzoku Kitan, July 1961

Issue Details

PDF pages
88

Summary

The July 1961 issue of Fuzoku Kitan is organized around the feature theme Women and Men Subjected to Torment, examining erotic torment, bondage, humiliation, punishment, and relations between sadistic and masochistic desire. The issue combines an unusually large photographic opening section with erotic illustration, psychological and autobiographical essays, fiction, serialized narratives, reader material, and commercial notices. Its editorial character moves constantly between the documentary language of sexual inquiry and highly staged fantasy.

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The opening gravure sequence is one of the issue’s dominant features. Under the general rubric Postures of Bondage Ecstasy: A World of Erotic Torment, models are shown bound in gardens, Japanese rooms, against pillars, on tatami, and in outdoor grass. Individual tableaux include Melancholy by the Pond, Bound in the Garden, The Captured-Leg Pose, Tied to a Pillar, The Captive Nude, The White Mermaid on the Cutting Board, Cast Down in the Grass, and Foot-Torment Poses. The photographs emphasize posture, exposure, rope pressure, shame, bodily imbalance, and the expressive effect of different environments. This is followed by a substantial selection of bondage illustrations by Furumasa Eisei, extending the same vocabulary of restraint into graphic fantasy.

The central special feature approaches torment through several genres. Abe Sadayoshi’s Tormenting the Female Body considers the psychology and bodily meanings of female submission and humiliation. Shimaki Ikuko’s I Am Happy to Receive My Husband’s Punishment is a first-person account in which marital domination, corporal punishment, sexual excitement, and domestic hierarchy become intertwined. Fujikawa Jun’s A Selection of Elegant Bondage Scene Illustrations examines earlier Taisho and early Showa representations of women bound, suspended, restrained, and punished. Yasunaga Akira’s At the End of Ecstatic Torment turns toward European and American cases of erotic cruelty and sadomasochistic obsession.

Later material ranges from Natsukawa Kinuko’s confession-like Account of an Enema Play for Two to the serialized Execution Order: The Biological Warfare Trial, which mixes wartime atrocity, experimentation, and sensational fiction. A further serial installment, Wandering in Ecstatic Torment: An Affair at Kyorakuso, occupies a large part of the later issue and develops an extended narrative of coercion, humiliation, sexuality, and violence. Reader Salon then provides letters, commentary, questions, and small notices, reinforcing the magazine’s identity as a participatory community rather than merely a collection of erotic fiction and images. The closing pages contain advertisements for publications, photographs, specialty goods, back issues, ordering information, and an editorial note. Across its different modes, the issue repeatedly treats bondage and torment not simply as spectacles but as psychological, marital, aesthetic, and subcultural practices.

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Table of Contents 40 items
  1. The Young Wife with a Dog
  2. Communion of White and Black
  3. Red High Heels by Tagami Keiko
  4. Selected Torment Illustrations by Furumasa Eisei by Furumasa Eisei
    21–27
  5. Postures of Bondage Ecstasy: A World of Erotic Torment
    4–20
  6. Melancholy by the Pond
    4
  7. Bound in the Garden
    5–7
  8. The Captured-Leg Pose
    8
  9. Tied to a Pillar
    9–10
  10. The Captive Nude
    11–12
  11. Foot-Torment Poses
    13–14
  12. Shame of the Back
    15–17
  13. The White Mermaid on the Cutting Board
    18
  14. Cast Down in the Grass
    19–20
  15. Women and Men Subjected to Torment by Okumura Sekio
    61
  16. Binding Mother and Daughter Ogin by Shishimura Yutaka
  17. Play in Riding Clothes by Ichinose Etsuko
  18. I Am Happy to Receive My Husband's Punishment by Shimaki Ikuko
    70–76
  19. A Selection of Elegant Bondage Scene Illustrations by Fujikawa Jun
    77–83
  20. Tormenting the Female Body by Abe Sadayoshi
    62–65
  21. Privacy in an Abject World by Okumura Sekio
  22. Salon Masochistica
  23. At the End of Ecstatic Torment by Yasunaga Akira
    99–106
  24. The Homo Window
  25. To My Beloved Friend by Kagawa Akihiko
  26. The Ecology of a First Meeting by Kabiya Kazuhiko
  27. From the Letters of a Masochist by Tani Jitta
  28. Account of an Enema Play for Two by Natsukawa Kinuko
    125–127
  29. Normal and Abnormal Are Separated by a Fine Line
  30. My Favorite Spectacle of Masochistic Suffering by Himan Takashi
  31. Wanda of the High Heels
  32. My Solitary Stroll in Women's Clothes by Kuchiki Hiroko
  33. The Cross-Dressing Enthusiast's Room by Okuma Sanae
  34. Cross-Dressing Course: Creating a Woman's Skin
  35. Continued: Complete Cross-Dressing by Umahashi Jiro
  36. Reader Salon
    184–187
  37. From the Editorial Office
    194
  38. Flame Emperor Temple: Black Tortoise Chapter by Ashidate Eikichi
  39. Execution Order: The Biological Warfare Trial by Mano Rei
    156–163
  40. Wandering in Ecstatic Torment: An Affair at Kyorakuso by Aoyama Miekichi
    172–183

Highlights

  • The opening gravure sequence Postures of Bondage Ecstasy: A World of Erotic Torment presents an extended photographic study of bound women in gardens, tatami rooms, and domestic interiors, using rope, fixed architectural points, exposed posture, and bodily imbalance as its principal visual vocabulary. (PDF pp. 4–20).
  • The gravure contains individually titled tableaux including Melancholy by the Pond, Bound in the Garden, The Captured-Leg Pose, Tied to a Pillar, The Captive Nude, The White Mermaid on the Cutting Board, Cast Down in the Grass, and Foot-Torment Poses. (PDF pp. 4–20).
  • Furumasa Eisei's Selected Torment Illustrations shifts from photography to a sustained illustrated portfolio of nude women tied, suspended, spread against structures, and subjected to stylized punishment. (PDF pp. 21–27).
  • The feature introduction Women and Men Subjected to Torment frames sexual torment as a problem of desire, abnormality, social prohibition, and the relationship between sadistic and masochistic impulses. (PDF p. 28).
  • Abe Sadayoshi's Tormenting the Female Body analyzes female submission, shame, bodily restraint, and the psychological meanings attached to being tormented. (PDF pp. 29–32).
  • Shimaki Ikuko's I Am Happy to Receive My Husband's Punishment presents marital punishment from a woman's first-person perspective, combining domestic hierarchy, physical chastisement, erotic pleasure, humiliation, and fantasies of complete submission. (PDF pp. 33–39).
  • Fujikawa Jun's A Selection of Elegant Bondage Scene Illustrations surveys bondage imagery associated with Taisho and early Showa popular fiction, reproducing scenes of women tied to posts, suspended, restrained in rooms, and subjected to period-style torment. (PDF pp. 40–46).
  • Yasunaga Akira's At the End of Ecstatic Torment uses sensational European and American cases to discuss erotic cruelty, violent obsession, and destructive forms of sadomasochistic desire. (PDF pp. 47–54).
  • Natsukawa Kinuko's Account of an Enema Play for Two is a confession-style account centered on an intimate enema scene and the embarrassment, bodily control, and erotic tension surrounding it. (PDF pp. 55–57).
  • The later issue is dominated by serialized fiction, particularly Execution Order: The Biological Warfare Trial and Wandering in Ecstatic Torment: An Affair at Kyorakuso, followed by Reader Salon correspondence and extensive advertisements for erotic publications, photographs, specialty goods, and back issues. (PDF pp. 58–88).

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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