The shift in the approach to enchantment from complete rejection by Max Weber in the 20th century to the spread of “enchanted" worldviews at the outset of the 21st has led to a new revised paradigm in which both rationalism and enchantment are intertwined and can be dealt with as complementary rather than contradictory. The liminal representation of the creative psyche has established a realm where both rationalization and imagination interact in novel manners, formulating a “second life" and a “second nature." This view takes Belk et al's (2021) Disenchanted Enchantment Model (DEM) as a basis for reevaluating the power-orientated status-quo of the female, transforming it into a form of initiation in which productivity and freedom become the new norm. The 2020 Nobel Prize winner Louise Elisabeth Glück (1943-2023) manifests in her poems a modernist version of this paradigm. This form of disenchanted enchantment has given her a liminal time-space in which she could revisit issues such as the female's relation to family, husband, children, and nature, using world myths, rituals and fairytales. This paper examines the liminal representation of the female that could, through the DEM model, reshape her identity and comment on pivotal issues in a female's life. As such, the present study can pave the way for a new handling of the benefits of liminal thinking and the presentation of (dis)enchantment.