This paper offers an analysis of Doctorow's City of God both as a kaleidoscopic novel on twentieth-century culture and as a creative playground whose aim is to escape postmodern eclecticism and bring forward a new moral stand connected to contemporary scientific concepts and a posthuman understanding of life. Metafictional techniques and the role assigned to voice and metalepsis are analyzed as apparent postmodern strategies that paradoxically help to dissolve the cultural antagonism existing between science and religion/metaphysics, a blurring of categorical borders that also seems to announce the end of that eclectic postmodern ethos that has dominated the last decades of the twentieth century. **********
