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With the Second Vatican Council (1962–65), the Roman Catholic Church for the first time took a positive stance on modernity. Its impact on the thought, worship, and actions of Catholics worldwide was enormous. Benefiting from a half century of insights gained since Vatican II ended, this volume focuses squarely on the ongoing aftermath and reinterpretation of the Council in the twenty-first century. In five penetrating essays, contributors examine crucial issues at the heart of Catholic life and identity, primarily but not exclusively within North American contexts. On a broader level, the volume as a whole illuminates the effects of the radical changes made at Vatican II on the lived religion of everyday Catholics. As framed by volume editors Lucas Van Rompay, Sam Miglarese, and David Morgan, the book's long view of the church's gradual and often contentious transition into contemporary times profiles a church and laity who seem committed to many mutual values but feel that implementation of the changes agreed in principle at the Council is far from accomplished. The election in 2013 of the charismatic Pope Francis has added yet another dimension to the search for the meaning of Vatican II. The contributors are Catherine E. Clifford, Hillary Kaell, Leo D. Lefebure, Jill Peterfeso, Leslie Woodcock Tentler.

When the revolutionary technology of photography erupted in American culture in 1839, it swiftly became, in the day’s parlance, a “mania.” This richly illustrated book positions vernacular photography at the center of the study of nineteenth-century American religious life. As an empirical tool, photography captured many of the signal scenes of American life, from the gold rush to the bloody battlefields of the Civil War. But photographs did not simply display neutral records of people, places, and things; rather, commonplace photographs became inscribed with spiritual meaning, disclosing, not merely signifying, a power that lay beyond. Rachel McBride Lindsey demonstrates that what people beheld when they looked at a photograph had as much to do with what lay outside the frame--theological expectations, for example--as with what the camera had recorded. Whether studio portraits tucked into Bibles, postmortem portraits with locks of hair attached, “spirit” photography, stereographs of the Holy Land, or magic lanterns used in biblical instruction, photographs were curated, beheld, displayed, and valued as physical artifacts that functioned both as relics and as icons of religious practice. Lindsey’s interpretation of “vernacular” as an analytic introduces a way to consider anew the cultural, social, and material reach of religion.

Drawing upon a multi-disciplinary methodology employing diverse written sources, material practices and vivid life histories, Faith in the Family seeks to assess the impact of the Second Vatican Council on the ordinary believer, alongside contemporaneous shifts in British society relating to social mobility, the sixties, sexual morality, and secularisation. Chapters examine the changes in the Roman Catholic liturgy and Christology, devotion to Mary, the rosary and the place of women in the family and church, as well as the enduring (but shifting) popularity of Saints Bernadette and Thérèse. Appealing to students of modern British gender and cultural history, as well as a general readership interested in religious life in Britain in the second half of the twentieth century, Faith in the Family illustrates that despite unmistakable differences in their cultural accoutrements and interpretations of Catholicism, English Catholics continued to identify with and practise the ‘Faith of Our Fathers’ before and after Vatican II.