In Claudia Durastanti's literary works, material objects and places hold revelatory potential: they tell us things about the people we are and the environments we live in, and expose the divisions, contradictions, and inequalities upon which human identities and physical places are built. More than this, objects and the spaces that house them are key to Durastanti's vision of a world, across her two published novels Strangers I Know (2022) and Missitalia (2024), that is not silent and disenchanted, but rather alive with significative potential. Her particular form of material ecocriticism (Iovino and Oppermann 2014) invites reflection not only on how the world is constituted, but on how to live in it, and on whether other worlds are possible or desirable. This paper contributes to a growing current in literary studies that seeks to use narrative to ask questions about what Elizabeth Anderson, in her work on the 'material spiritualities' of modernist women writers, terms "the place of materiality in theology and religious studies" (2020, 2). By appraising "the spiritual life of things" (Anderson 2020, 1) and taking a closer look at this "enchanted materialism" (Bennett 2001), I will take Durastanti as a case study for how contemporary women writers continue to use literary methods to explore ethical tasks that lie at the cross-section of theology and narrative, namely: the negotiation of ends, the imagination of new futures, and the positing of more equitable engagements with the world's inhabitants, human and non-human.