Towards the end of the nineteenth century Nietzsche had already announced the death of God, implying a secularisation of a modern world in which the individual had to look for the god-like elsewhere. In the works of high modernist writers, the omniscient and ordered god-like view known from their romantic and realist predecessors gave way to a shifting and more disjointed picture of everyday lived experience. Divinity was now in the "pots of pans' of daily life,¹ in a simple dinner arranged by Mrs Ramsay in Woolf's To the Lighthouse; in the sweet taste of a small cake, "the little Madeleine' in Proust's Swann's Way; in the "yes' of Molly's desire at the end of Joyce's Ulysses or simply in the hustle and bustle of city life: "That is God . . . What? A shout in the street.'² But, if a certain primordial "faith is in things not seen,'³ as "a sort of commitment to the world and to others,' one question remains,⁴ as Fred Evans and Leonard Lawlor put it: "can we find an order after the announcement that God is dead?'⁵ Two relevant poets to turn to here are Gerard Manley Hopkins (1844–1889), an "early modernist' poet ahead of his Victorian time whose poetry is pervaded by a sense of religious doubt and alienation⁶; and Wallace Stevens (1879–1955) who, as the self-confessed "priest of the invisible,'⁷ saw it as his task to fill the void the gods' going had left with the "Supreme Fiction' of poetry. In my discussion of the sacred secularity of the two poets' work, I will briefly touch upon the angelology of modernist painter Paul Klee (1879–1940) whose many angels painted between 1938 and 1940 are trapped between heaven and earth, a "transitional realm' where the angels themselves express the uncertainties of human beings.⁸