This paper aims to study how modernist and postmodernist novels cope with the collapse of order brought by the disappearance of God. Focusing on James Joyce and Thomas Pynchon representing modernism and postmodernism, respectively, it examines the problems of revelation and recognition embodied in their works, such as "The Sisters," V., and The Crying of Lot 49, comparing how they explore a new possibility of order in confrontation with the crisis. The introductory part of this paper provides a historical overview of the modes of presence of God that have changed from immanence to transcendence and, eventually, disappearance. Against this withdrwal of God, Joyce`s aethetics of epiphany reflects the modernist project to secularize traditional religious epiphany and replace the revelation of divine order with that of a self-sufficient aesthetic order of art. "The Sisters" is a kind of parable that dramatizes the downfall and loss of religious order through `anti-(epiphanic) epiphany,` an epiphany that paradoxically reveals the absence of traditional immanence. Meanwhile, Pynchon deepens Joyce`s anti-epiphany in V.. His `anti-visionary vision` delivers a fearful insight into nothingness, the absence of immanent order, further problematizing the subjectivity of perceiving consciousness. Finally, The Crying of Lot 49 presents Pynchon`s effort to explore alternative order. Instead of confining the meaning within a certain boundary of order or disorder, he invites the reader to the uncertainty and diversity of meaning in process from which the new possibility of order remains open.