Hebrew authors of the 1960s and 1970s used the biblical context to hint at their protagonists' religious yearnings, to invest their texts with additional levels of meaning, and to amplify the significance of their plots. In the Hebrew “postmodernist” fiction of the late 1980s and the 1990s, however, biblical allusions are less commonly found, and their functions have fundamentally changed. To examine these different functions, let us first juxtapose two novels, Avram Heffner's Allelim [Alleles], a typical example of the “postmodernist” trend, and Amos Oz's Menuha Nekhona [A Perfect Peace], a representative novel of the Israeli “modernist” school.