This article analyzes the modernist female poet H.D.’s Trilogy consisting of The Walls Do Not Fall (1944), Tribute to the Angels (1945) and Flowering of the Rod (1946) within a psychoanalytical feminist framework and traces how the female poet asserts subjectivity and relocates the feminine within the discourse through subverting history and the male-based episteme. Generally regarded as a collection of war poems, the Trilogy on the surface level shows the destructiveness of war and the havoc it creates in human psyche. Yet a deconstructionist and poststructuralist feminist approach to these poems unfolds trajectories where the poetess transforms sites of masculinity such as war and history to maternal sites of rebirth, redemption and salvation. To break the Lacanian Law-of-the Father and and form a new writing style focused on the female body, H.D. refutes dualistic western metaphysics and instead comes up with a poetic style that exists through absences, silences, rhythms and fluidity, which systematically allow the feminine speech be heard and move in multiple directions. Challenging the bias against female body as the locus of male desire, H.D. depicts the female body as the fusion of the bodily and divine, particularly through the figure of the Virgin Mary. Besides, setting out from religious and classical mythologies and revisioning them to reveal the repressed female all throughout the discourse, H.D. redefines the concept of creativity and its forgotten aspect of the feminine in the modernist aesthetics, challenging the rooted vision propagated by her male contemporaries that creation is a masculine realm.