自从尼采向世人宣告“上帝死了”以后,《圣经》也成了不少西方后现代文学作品中被戏仿和解构的对象。然而,美国当代著名作家芭芭拉·金索尔弗的《毒木圣经》向我们展现出,《圣经》在后现代西方文学创作中被解构得最为彻底的莫过于传统叙事中那个至高无上的声音。对于《圣经》中所呈现出来的语言作为第一存在的命名功能,后现代的理论家和作家们虽然做了孜孜不倦的解构,但是他们的解构并没有超越语言的窠臼,仍是一种“解—构”式的继承。至于后现代派所极力推崇的“文本意义”的不确定性,其实和《圣经》中“上帝”的不确定性一脉相承。因此,后现代的西方文学创作虽然大多以《圣经》作为批判、戏仿和解构的靶子,最终却都难以摆脱《圣经》叙事的魔力。 Since Nietzsche proclaimed to the world that God died, the Bible has also become the object of parody and deconstruction in many Western postmodern literary works. However, the “poisonous wood” of Barbara Ginsorfer, the famous contemporary American writer, shows us that the Bible is the most thoroughly deconstructed in the postmodern western literary creation than the supreme voice in the traditional narrative . Postmodern theorists and writers did a great job deconstructing the language of the Bible as the first naming function. However, their deconstruction did not go beyond the language and was still a kind of “ Solution - structure ”type of inheritance. The uncertainty of “textual meaning” strongly advocated by postmodernists is in fact the same as the uncertainty of “God” in the Bible. Therefore, most of the postmodern literary creation in the West, as the target of criticism, parody and deconstruction, is ultimately hard to get rid of the magic of the Bible narrative.