This paper explores how Elsa Morante's L'Isola di Arturo (1957) and Goliarda Sapienza's Io, Jean Gabin (written 1970s-80s, published 2010) reconfigure Christian theological motifs through queer desire, sacrilegious attachment, and residual devotion. Emerging from the cultural aftermath of the Second Vatican Council, both texts engage —implicitly and explicitly— with the collapse of institutional faith and the survival of religious sentiment. I argue that their protagonists enact "queer Jesuses"—figures who blur the sacred and profane, devotion and eroticism—through the quasi-divine Wilhelm and Gabin, figuring dynamics that echo both the structure of Christian worship and its subversion. While Morante stages a tragic parody of divine love grounded in paternal adoration, Sapienza enacts a radical identification with a secular and Queer Christ figure, reclaiming agency through gender play and ethical reconfiguration. Drawing on Queer Theology and the work of thinkers such as Althaus-Reid and Agamben, I read these narratives as sites of theological profanation, where traditional structures of belief are both dismantled and perversely preserved. By comparing these two texts, I aim to highlight the distinct yet interconnected modes of "profanation" enacted in their narratives. I propose that Morante and Sapienza offer generative and complementary responses to secularization, opening up new interpretive pathways between literature, theology, and gender.