This paper examines the question of God in the poetry of Friedrich Hölderlin through the figure of "home" (Heimat), arguing that in "Heimkunft" dwelling is displaced from any stable ground into a space structured by divine withdrawal. Rather than a site of physical return, home unfolds in relation to nature as a privileged yet unstable medium of the divine, emerging as an experience of distance and historical rupture in which the divine remains irreducibly open and unresolved. Following recent scholarship on Hölderlin's fragmentary and open poetic form, significant emphasis will be given on the way the very form and fragmentary dynamics of the text avoid a resolved theological claim. In dialogue with Novalis's Heinrich von Ofterdingen, this paper contrasts two poetic configurations of the divine. While Hölderlin develops a poetics of estrangement in which the gods withdraw from the natural world, Novalis stages home as a horizon of desire, most famously in the figure of the Blue Flower, which transforms dwelling into something to be sought rather than recovered. Through the symbolic quest of the Blue Flower in Heinrich von Ofterdingen, home emerges not merely a physical dwelling but a horizon of longing in which man encounters the divine. Engaging, in a limited way, with Martin Heidegger's reading of Hölderlin, the paper argues that dwelling is not the recovery of a lost origin but an ongoing, poetic exposure to the openness of the divine. Hölderlin thus reconfigures the relation between poetry and religion as one that sustains theological indeterminacy. In doing so, it offers a compelling framework for contemporary discussions in philosophy of religion and aesthetics.