Hilda Doolittle emerged on Poetry in 1913 as "H. D. Imagiste" ; H. D.`s Imagist poetry was not limited to absolute precision without excess. Especially in the growth of Modernism beyond the aesthetic world of Imagism, the hieroglyphic characteristics of her images have turned to the quest for new meanings in mythological and literary traditions. Hieroglyph is an image fraught with meaning but never acquired or known, like myth which deals with ultimate questions of translinguistic fact. In interpreting the hieroglyphic nature of life, myth helps H. D. to discover the mysteries buried in human experience. However, patriarchal traditions of interpreting myths do not encourage H. D. to discover the mysteries especially in women`s experience. Her works come to be the revisionist mythmaking, transforming the myths of past and creating new myths. H. D. calls our attention to the need for renewal based on the life-giving values associated with women. However, life`s hieroglyphs in her reading still remain as an enigma that we must continue to read. In her epic, Helen in Egypt, H. D. reconsiders Helen in Troy who has been defined as beauty and evil in terms of her sexuality. In the alternating process of Love and Death, Thesis, Mother Goddess, leads Helen and Achilles to transcend the limitations of sex roles. And their child, Euphorion, represents the image of bisexual resolution, but still with tensions of opposites. In contrast with Woolf`s androgyny which is of the creative mind, not of the body, H. D.`s bisexuality in Helen in Egypt refers to the body with sexual desire as well as to the mind. In addition, Helen in Egypt reminds us that a revisionist mythmaking is just a resolution which demands the interpretations to go on and on.