In particular, male modernists “disdained the writings of Victorian women; yet they revived the “woman of the past” in their art” (Walls 229). Fitzgerald's portrayal of women such as Daisy Buchanan and Jordan Baker embraced the 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 wish for her daughter to become "a beautiful little fool" because "that's the best thing a girl can be in this world" is an example of the belief that women's lives do not has no purpose in society, aside from their expectations of maintaining their physical appearance, getting married, and staying at home (Fitzgerald 17). Additionally, Fitzgerald portrays Daisy and Jordan as restless women who had the freedom to do whatever they wanted, but were unable to do so due to their indecisive natures. Fitzgerald mocks the newfound freedom women found in the 1920s by pointing out that women had time to go do new things away from their home lives, when Daisy continually asks, "What are we going to do with ourselves this afternoon? (118). However, when Fitzgerald asks women like Daisy to wonder what will be done with their time, he highlights women's inaction in making use of their freedom. The Wasteland by TS Elliot features a jewelry-wearing woman who hears her husband's footsteps, causing her to quickly start brushing her hair and focusing on her cosmetic appearance, as she is supposed to be focusing on her appearance. In the end, her conversation with her husband boils down to "What will we do tomorrow?" / What will we do one day? which echoes the restless traits that Daisy Buchanan exemplifies in Fitzgerald’s writings (Elliot 2013). THE