“Religion's Engine”: Theorizing Religion and Modernity in Jon Butler's God in Gotham

Abstract

After reading Jon Butler's richly documented history of religion in Manhattan, I thought again of one of my favorite images: a 1939 watercolor by Ben Shahn called Self-Portrait among the Churchgoers, in which a photographer stands near a church on Sunday but points his camera toward the street and seems to ignore the gathering worshippers. Some U.S. historians might be relieved they do not need to learn more about those pious pedestrians, or what happens inside, but specialists in religious history might think the photographer has missed all the action. Has he? Well, in one sense, sure. Historians of religion must attend to churches and adherents, as Butler does, but, like Shahn's photographer, Butler also looks out to the wider cityscape. And that approach pays off as he asks how religion confronted “the challenge of modernity” in Manhattan, “the capital of American secularism.” More specifically, he hopes to explain why religion “didn't collapse in modernity's grasp,” as religion theorists like Max Weber and William James predicted.