The most generous poll never seems to find more than thirty per cent of Americans saying they are “not religious or not very religious,” though the numbers get up to around fifty per cent in Europe. But something has altered in the course of a century or so. John Stuart Mill said in the early nineteenth century that he was the only youth he knew who was raised as a skeptic; by the end of his life, skeptics were all around him.

In Tom Stoppard’s 1970 play “Jumpers,” the philosopher hero broods unhappily on the inexorable rise of the atheist: “The tide is running his way, and it is a tide which has turned only once in human history. . . . There is presumably a calendar date—a moment—when the onus of proof passed from the atheist to the believer, when, quite suddenly, the noes had it.” Well, when was that date—when did the noes have it? In 1890? In 1918, after the Great War? In 1966, when Time shocked its readers with a cover that asked whether God was dead? For that matter, do the noes have it? In most of the world, the ayes seem to be doing just fine. Even in secularized Manhattan, the Christmas Eve midnight Mass is packed tight with parishioners, and the few who came for the music are given dirty looks as they sheepishly back out after the Vivaldi.

The most generous poll never seems to find more than thirty per cent of Americans saying they are “not religious or not very religious,” though the numbers get up to around fifty per cent in Europe. But something has altered in the course of a century or so. John Stuart Mill said in the early nineteenth century that he was the only youth he knew who was raised as a skeptic; by the end of his life, skeptics were all around him. Yet, though the nineteenth-century novel is roiled by doubt, there isn’t one in which the doubters quite dominate. Whatever change has occurred isn’t always well captured by counting hands. At a minimum, more people can say they don’t think there is a God, and suffer less for saying so, than has been the case since the fall of Rome. The noes have certainly captured some constituency, obtained some place. What, exactly, do they have?

There’s a case to be made that the change is more like pulses than like tides. If the nineteenth century ended with freethinkers in every front parlor, for most of the twentieth century the sound of atheism became more agonized and muted. Madalyn Murray O’Hair, the firebrand head of the American Atheists, had an occasional spot on Johnny Carson, but it was always in the last ten minutes of the show, the same spot that, ahem, Johnny gave to authors. (Billy Graham got on right after the monologue.) The glamour lay in faith. Nearly all the great modernist poets were believers: Auden and Eliot in Anglo-Christianity, Yeats in some self-crafted Hibernian voodoo. Wallace Stevens, whose great poem “Sunday Morning” is all about what to do when you don’t go to church, saw his atheism treated very discreetly, like Hart Crane’s homosexuality.

Only in the past twenty or so years did a tone frankly contemptuous of faith emerge. Centered on the evolutionary biologist Richard Dawkins, the New Atheists were polemicists, and, like all polemics, theirs were designed not to persuade but to stiffen the spines of their supporters and irritate the stomach linings of their enemies. Instead of being mushy and marginalized, atheism could proclaim its creed. But why did the nonbelievers suddenly want stiffer spines and clearer signals? Why, if the noes indeed had it, did they suddenly have to be so loud?

A history of modern atheism—what did Voltaire say to Diderot? what did Comte mean to Mill? who wasMadalyn Murray O’Hair, anyway?—would be nice to have. The British popular historian Peter Watson’s “The Age of Atheists: How We Have Sought to Live Since the Death of God” (Simon & Schuster) could have been that book, but it isn’t. Beginning with Nietzsche’s 1882 pronouncement that the big guy had passed and man was now out on the “open sea” of uncertainty, the book is instead an omnium-gatherum of the life and work of every modern artist or philosopher who was unsettled or provoked by the possible nonexistence of God. Watson leads us on a breakneck trip through it all—Bloomsbury and Bernard Shaw, Dostoyevsky and German Expressionism, Sigmund Freud and Pablo Picasso. If it’s Chapter 3, this must be Vienna.

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