In particular, male modernists “disdained the writings of Victorian women; yet they relived the 'woman of the past' in their art” (Mura 229). Fitzgerald's portrayal of women like Daisy Buchanan and Jordan Baker embraced counter-Victorian era freedoms to drink, drive, and associate freely with men, while simultaneously promoting older beliefs that women had little impact on society. Specifically, Daisy's desire for her daughter to become "a beautiful little fool" because "that's the best thing a girl could be in the world" is an example of the belief that women's lives were purposeless in society, other than their life expectations. maintain one's physical appearance, get married, and stay at home (Fitzgerald 17). Furthermore, Fitzgerald illustrates Daisy and Jordan as restless women who had the freedom to do what they wanted, but were unable to do so due to their indecisive nature. Fitzgerald pokes fun at the newfound freedom women found in the 1920s by pointing out how women had time to do new things away from their domestic lives when Daisy continually asks, "What are we going to do with ourselves this afternoon?" (118). However, when Fitzgerald asks women like Daisy what will be done with their time, she highlights women's inertia in using their freedom. The Wasteland by T.S. Elliot features a woman wearing jewelry who hears her husband's footsteps, which prompts her to quickly start brushing her hair and focusing on her appearance because she is expected to focus on her appearance. Ultimately, the conversation with the husband boils down to “What are we going to do tomorrow? / What will we ever do?" which parallels the restless characteristics that Daisy Buchanan exemplifies in Fitzgerald's writings (Elliot 2013). THE