Contrary to the “editors” stated intentions, I very much enjoyed this book as a celebration of Arsenal and how it intersects with global ideas of Blackness. I think it’s weird to assume that a celebration of the subject would necessarily negate a close examination of it: a concept isn’t a person, and it’s feelings won’t get hurt if you rightfully critique the parts it could improve upon. In fact to celebrate Arsenal’s ties to the Black community without looking at the dark side of the relationship — which in this book is presented almost entirely as a handwringing over capitalism, on which more later — would be infantilizing, and not something the thoughtful reader would want.
Tho speaking of infantilizing, I spent a lot of time wondering exactly who this book is for. On the one hand, it caters to an audience so far removed from sport and popular culture that it feels the need to explain the concept of, for example, hype in boxing in the most pompous way I’ve ever encountered. These academic chapters are so tedious, and bookend the volume so comprehensively, that it almost feels like it’s trying to turn the average reader, whether Arsenal fan or otherwise, off of its very own contents.
Fortunately and on the other hand, you have an engaging oral history that not even the academics can wholly suck the joy out of. While Paul Gilroy’s opening essay has its moments, the book only really feels like it comes alive with Amy Lawrence’s reporting on Kevin Campbell’s reaction to the North Bank mural containing only white faces. The subsequent firsthand accounts of what it means to be Black and an Arsenal player, staff and/or supporter are almost uniformly compelling, as are the fascinating insights into the ways that the relationships between Blackness as a cultural entity and Arsenal as a brand continue to evolve. This is a book that both lives Arsenal and explores the lived experiences of Black people engaging with what Arsenal stands for. I do wish that Gail Lewis’ closing chapter on the intersectionality of being female, Black, gay and an Arsenal fan was more about that and less about her ability to self-regulate and prescribe the same to others based on inflated credentials, but the many references to Clive Chijioke Nwonka’s work in the piece are a likely reason for why it was chosen to cap the volume instead of, say, Baroness Lola Young’s less pedantic but equally lived-in entry.








