Kitan Club

The numbered literary section begins on PDF page 39 with Naruse Ryō’s essay asking whether inverted sexual interests are necessarily immoral. The article challenges simple moral condemnation and surveys medical, social, and ethical explanations for nonstandard desire. It is followed by Furuta Kichirō’s account of an experiment involving nipple fixation and restraint, then by the fiction series The Bride Has Arrived, whose comic and melodramatic episodes turn domestic and marital expectations into scenes of concealment, coercion, embarrassment, and physical control. Yamaguchi Kōichi next examines tendencies visible in readers’ correspondence, treating the magazine’s letters as evidence of patterns among rope and bondage enthusiasts. This piece is especially important because it shows Kitan Club presenting its readership as a recognizable community whose desires could be classified, compared, and discussed.

Several subsequent articles focus on childhood and adolescence. The Boys of Mount Hachiyama is framed as a summer-vacation diary and depicts a group of boys whose games, curiosity, bullying, and bodily experimentation become increasingly charged. Miscellaneous Notes on Moxibustion considers punishment and therapeutic burning through anecdotal and historical examples. Ten Months in Prison is a long illustrated account of penal life, discipline, humiliation, institutional routines, and relations among prisoners. The section concludes with The Death of a Woman Who Trampled Her Husband, a comic and sensational piece about marital domination, and the second installment of The Bloodstained Reins, Itō Seiu’s historical narrative of violence, punishment, and social disorder.

The middle of the issue is dominated by extended confessional and quasi-documentary narratives. Morimoto Aizō’s translated continuation of Cruel Women introduces European anecdotes about female sadism and domination. Hōzuka Mitsuo’s How I Was Tormented follows a first-person narrator through humiliating treatment, erotic coercion, and bodily control. Mori Taichi’s Confession from My Boyhood: The Smell of Boys revisits school and dormitory life through memories of male bodies, shame, fascination, and sexual awakening. My Observations of Three Deformed Women and the continuation of A Girl from the Red-Light District further develop the magazine’s interest in bodily difference, marginality, exploitation, and the unstable boundary between documentation and voyeurism. Trampled, a prize-winning confession, recounts a man’s attraction to submission beneath women and frames his experiences as both personal testimony and a case for interpretation.

A Wife Abused in the Abdomen begins on PDF page 151 and continues the issue’s series of prize-winning testimonies. It is followed by Breasts and the Menstrual Belt, Confession of an Extraordinary Masochist, and a group of short illustrated narratives concerning erotic danger and deviant behavior. Jealous Boys continues the juvenile-victim series, after which Hemorrhoids: A Woman’s Nighttime Letter offers an intimate medical and erotic account. The issue then returns to Itō Seiu’s Sexual Fluids, includes the essay From the Notebook of a Certain Masochist, a prize-winning confession about a burglary, a discussion between lesbianism and sodomy, and a second major essay on the secret of the A-sensation.

Later contributions broaden the geographic and historical range. A Taiwanese colonial-history feature recounts the Beipu Incident through scenes of armed conflict, state violence, and civilian suffering. Other pieces discuss women who respond to sadism, a stranger’s memoir, photographic observations of breasts, a woman’s account of being abused by a mistress, methods of self-binding, translated or adapted erotic anecdotes, and a sustained sequence of articles derived from reader letters and personal experience. The final pages contain columns, short correspondence features, editorial notes, and classified or club material rather than another major story. The true final page is PDF page 309, which contains publication and club notices. Across its complete length, the issue presents Kitan Club as both an illustrated entertainment magazine and an informal research forum. It repeatedly converts fantasy, testimony, history, foreign literature, visual documentation, and reader correspondence into evidence for a shared inquiry into bondage, pain, fetishism, submission, humiliation, bodily difference, and unconventional desire.