It is one of the most famous covers in the long, rich history of The New Yorker.

“View of the World from 9th Avenue,” by illustrator Saul Steinberg, is one of the first images that come to mind when many New Yorkers of a certain age and, perhaps, social class, describe the alpha city they call home. The drawing is also known as “A Parochial New Yorker's View of the World.”

I am not a New Yorker, but I gained a little bit of experience in that world while teaching journalism, religion and mass media there for roughly two months a year over the past five years. This period of my life that is now, sadly, over, and the coronavirus had nothing to do with this departure.

I claim no great insights into New York, but I really enjoyed this experience.

Everything of substance that I learned during that time came from New Yorkers and that shaped what I saw happening around me. But here is one of the most important things I learned from the set of New Yorkers that I came to know — New York City contains some absolutely amazing churches and religious flocks of every size and shape. This website will tell you lots of what your need to know about that: “A Journey Through NYC Religions.”

Now, please notice that this statement undercuts a popular myth among New York haters in other parts of America. Yes, the Big Apple is a rather secular and liberal place, especially in Manhattan. But in reality, it’s hard to tell the story of Manhattan — past or present — without including religious faith in the mix.

Now, with that in mind, look again at the “View of the World from 9th Avenue.” What is missing from this iconic New York City image that is actually present in real life (other than, of course, the existence of the rest of the United States of America out in flyover country)? What is missing from this picture of New York City life that is so popular with a certain brand of New York insider?

Here’s a clue. It’s the same thing that is missing from a recent feature in The New York Times that ran with this double-decker headline:

What Hardcore New Yorkers Really Miss
Wistful words from the actor Alec Baldwin, the comedian Amber Ruffin, the Rev. Al Sharpton, the chef Amanda Cohen, the assemblywoman Yuh-Line Niou and more.

Note the phrase “hardcore New Yorkers.”

What does that adjective mean? Apparently it refers to people who live in a city with no steeples, no cathedrals, no synagogues, etc.

Under normal circumstances, it’s important to pay attention to the name that an artist carves into a giant work of public art.

In this case, we are talking about a statue — both majestic and ironic — by the African-American artist Kehinde Wiley of New York City. I will let The Washington Post describe that statue in a moment, in this lengthy feature: “With a brass band blaring, artist Kehinde Wiley goes off to war with Confederate statues.”

The key, in this case, is that an African-American artist has made a statement judging the long history of art in the American South that pays tribute to the region’s Civil War heroes and, in the eyes of critics, supports the “Lost Cause ideology” that tries to justify their actions.

I chose that word “judging” carefully, because the artist is making a moral statement on a grand scale. And the name he chose for this statue? He called the statue “Rumors of War.”

My question: Did journalists who covered the unveiling of this statue realize that, with this title, Wiley was adding a very specific note of BIBLICAL judgement with a direct reference to Matthew, chapter 24? I am referring to these famous words of Jesus:

… Ye shall hear of wars and rumours of wars: see that ye be not troubled: for all these things must come to pass, but the end is not yet. For nation shall rise against nation, and kingdom against kingdom: and there shall be famines, and pestilences, and earthquakes, in divers places. All these are the beginning of sorrows. Then shall they deliver you up to be afflicted, and shall kill you: and ye shall be hated of all nations for my name's sake.

It would be hard to find a piece of scripture with greater relevance to discussions of a civil war.

But did journalists the Post, and The New York Times, get the point? Remember: We are talking about the NAME of the statue. Here is a quote from the overture in the Post arts-beat feature, describing the event last Friday in Times Square: