A candlelit vigil for George Floyd in Windrush Square in Brixton. Credit: Dan Kitwood/Getty Images

The Romans loved their Saturnalia. For one week, every year, social customs were overturned in the spirit of carnival: gambling was permitted and slaves were treated as kings. The literary critic Northrop Frye was fascinated by this festival, and saw its potential to set off social revolution. In his 1957 book, The Anatomy of Criticism, he argued that Shakespearean comedy is typically characterised by a three-part formula: the “old world” of authority and conformism gives way to the “green world” of saturnalian ebullience and energy before the “new world” emerges. Elements of the old world and the saturnalian world synthesise, to produce a new social order.
Many of the protests in the summer after the death of George Floyd looked like festivals; people swayed as they sang. And at a time when actual festivals were banned, the events possessed an especially transgressive allure. We were breaking out of a recently organised old world of restrictions into a new one where the cause of racial justice transcended the obligations of social distancing.
The rules, the protestors affirmed, should not apply to them. In the first month after the murder, over 14,000 American protestors were arrested. In Washington DC, cars were burned down and bathroom stalls were spray painted with the “Amerikkka”. A fire was lit in the nursery of the parish house of a church called St John’s Episcopal Church, which is known as the “church of the presidents”, because every American president has attended it at least once since it was built in 1816.
But the nature of the protests constituted a break at a deeper level too, a new paradigm shift in racial thinking, both in America and across the rest of the world. There were protests in over 60 countries and all continents — including Antarctica. Now, racial justice is a matter of reflexive urgency; there’s no time to consider national or cultural context. Many expressions of anti-racism look like religious revivalism, any analysis of the complex realities of black people obscured by penance and sanctimony.
The basic outline of what happened on the evening of May 25, 2020 was reported in every major newspaper on the planet. A middle-aged black man called George Floyd was choked to death in Minnesota by a police officer named Derek Chauvin, because Floyd was suspected of using fake money to buy cigarettes. His Name Is George Floyd, a new book by Washington Post journalists Robert Samuels and Toluse Olorunnipa, substantiates this outline with a glut of information. It is a detailed investigation into the life of Floyd, the nature and context of his murder, and the impact of his death on wider American society.
The authors conducted over 400 interviews for the book. They interviewed Floyd’s siblings, aunts, uncles, cousins, nieces, lovers and friends. We get a solid picture of the man. We also learn a lot about Floyd’s ancestors — who they were, what they did, and where they fit within the narrative of America’s vexed racial history.
But there is very little in the book on the global impact of Floyd’s death. The authors do not have a lot of interest in the wider world, nor do they seem to have a great understanding of it. In one historical passage, for instance, they write that Scotland was a country that was dominated by “the British”. Colonies always know more about the metropole than the metropole knows about the colonies; faced with such American ignorance, it’s easy to conclude that the former colony has become the coloniser.
Culture changed so rapidly in America in the wake of that summer of protests, and we in Britain soon followed suit. Many American publications, for instance, started to capitalise the b in black — including the New York Times, Washington Post and the Associated Press. Many British publications swiftly did the same: the b in black is now capitalised in the London Review of Books, for example, and the Times Literary Supplement. It’s become de rigueur so rapidly in British publishing that, when I submitted a proposal for my book, about the way American race discourse influences Britain, in 2021, I had to explain why I didn’t capitalise the word black.
Lori Tharps makes the case for capitalising black: “Black with a capital ‘B’”, she writes, “refers to a group of people whose ancestors were born in Africa, were brought to the United States against their will, spilled their blood, sweat and tears to build this nation into a world power and along the way managed to create glorious works of art, passionate music, scientific discoveries, a marvelous cuisine, and untold literary masterpieces. When a copyeditor deletes the capital “B”, they are in effect deleting the history and contributions of my people.” Unlike Tharps, though, I am not American.