Last item first. It wasn’t about kneejerk political correctness. If I was that concerned about dogmatic PC, I wouldn’t have been writing about hardcore dominance and submission, human trafficking, and human sacrifice in the first place. I first came up with the title around 2014, in Budapest, when I started putting my dark and weird short and (nominally) erotic fiction together on a plan dating back to 2012. I went with it till early 2016, when I worked out the cover design and jacket image with my (Danish) publisher. I liked the cover so much that I put it out on Facebook for the horror/dark/weird fiction community. I had plenty of positive feedback, and no cautions or criticisms. I liked it so much that I made a t-shirt out of it. Then I looked at the design, and thought again. I asked some members of the same community whether they thought anyone would object to the title or cover design in the context of Black Lives Matter. They said no one in the horror/dark/weird community would notice or mind. I asked: what if I wore it as a t-shirt? Pause. Then: Better not do that. I tried the same test with a bunch of US media/journalism academics at the Central European University in Budapest. Same reaction.
I wouldn’t presume to speak for Black Lives Matter. There are others far better positioned to do that than me, from a far more informed and involved point of view. This time at least, I have to talk about me. And inadvertently, I had ended up with something that could, at a glance, or through a casual misreading, be seen as endorsing the Fox News/Bill O’Reilly/All Lives Matter bleating and barracking of the movement. A casual misreading as in, passing on the street, on a t-shirt. And if you can’t wear your slogan, on the street on a t-shirt, there is a problem with your slogan, no?
I couldn’t claim to be unaware of the issue, from the moment I first realized this. Way back when I was first mulling over titles, in Hungary, perhaps. But certainly not now. So I had to take a position on it. Practically, if I just wasn’t able to change the title, I would have to live with it. But the space between print book and e-book edition gave me some room for reflection. And the original print edition with its original title is still there, lest anyone suspect me of trying to (ahem…) whitewash myself, and airbrush out my past choices. But if I didn’t at least try to make a change, to my mind, I would be either indifferent to the Black Lives Matter movement … or worse. In any case, not acknowledging it. And even within the dark/weird/SF/horror fiction community, after recent debates on inclusion, H.P Lovecraft’s bust in the World Fantasy Awards, the Rabid Puppies assault on the Hugo Awards, etc. such choices do have resonance.
This is not a neutral context, if it ever was, and it is a space where I could make a public choice. A relatively small, insignificant space, fine, free from harm or consequences beyond a few sales gained or lost – but my own space, the one involving and implicating me, where I got to exercise personal responsibility. My space to make authentic choices, as author, not bandwagon-jumper or well-wisher; choices that directly impacted me, with implications for my own writing career; choices that put my skin in the game, however trivially, and allowed me to take a stand and do the right thing.
I also anticipated that some critics, on all sides, might accuse me of selfish opportunism, currying favour with a fashionable group for self-promotion and audience share, parlaying the suffering of others into a bigger readership with zero personal pain. Yes, I did think about market, and audience. But that kind of priority surely also acknowledges that Black Lives Matter. Black readers matter. Their opinion, their spend, their sensitivities, their economic as well as their political and moral power, matter. If you literally cannot afford to be indifferent to them, then that is exactly how things should be.
So why did I choose “Black Propaganda” as the title in the first place? First off, because partners and other members of the BDSM community were regularly referring to my sexuality as “dark” – and the stories in the book all ultimately stemmed from my own sexuality, as an exponent of the BDSM lifestyle. And of course, to evoke Fifty Shades of Youknowwhat. And because the collection is dark fiction. But I took the term itself from psychological warfare terminology, because it suggested exactly the kind of self-questioning, self-subverting, backbiting, reciprocal, ironic, self-interrogation that I wanted for the book’s focus on BDSM-style dominance and submission – a title that questions its own premises and implies that it may be the direct opposite of what it appears to be on the surface. Because of the mutual dependency, the interdependence, the sharing, that lies at the root of consensual power exchange and BDSM. Also because of “propaganda” in the original Roman Catholic sense – propagation of a dogma, in this case the dogma of dominance and submission. With again, the implication that this is a creed whose practice absolutely contradicts its explicit premises.
And why “Blowback”? Because it has a similar pedigree in psywarops terminology, and also describes something that rebounds on and undercuts its explicit purpose. And an obvious sexual implication. And also because it describes pretty much what happened to my first choice of title – unintended or unforeseen consequences. In fact, the new title fits the book so well that I don’t even need to change a single line of the original foreword to accommodate it. And that also reflects how any book is in a state of evolving, even reactive dialogue with its audience.
Except that part of that audience is literally in the firing line. Facing military grade firepower, or insanely empowered itchy-finger vigilantism. Facing plenty more besides, and elsewhere, certainly, but let’s focus on that one, uniquely American, thing that started this whole movement off in the first place. Dickens may have protested (quietly) against slavery in America in the 1840s; Einstein may have protested far more vociferously against segregation in the 1920s and 30s: neither was directly protesting against summary, serial, judicially sanctioned, public execution on suspicion, on the streets, without trial. Post Civil Rights. In a notionally free, fair and democratic country. To riff off Joss Whedon’s remarks when asked why he writes strong female characters: Black Lives Matter. Because what’s the alternative?