The objectives of this paper are to continue and expand the inquiry initiated by Saldívar and Sánchez, to probe deeper into the applicability of postmodernism in the critical discourse about Chicano literature, and to map the forms that postmodern thought assumes in two emblematic narratives of this canon. One of the novels analyzed here, Rudlofo A. Anaya’s Bless Me, Ultima (1972), is an all-time Chicano classic, a milestone of the Chicano Renaissance that acquired instant popularity with ethnic as well as mainstream Anglo readership at its first publication. The other text I chose to work with, Alejandro Morales’s Caras viejas y vino nuevo (1975), faced so much opposition and incomprehension initially that it ended up as the first Chicano novel to be published outside the US.