F. Scott Fitzgerald depicts a society in The Great Gatsby where people are trapped by their gender and roles. Daisy Buchanan is the passive, decorated woman of the 1920s beautiful and lovely but eventually in a man’s domain. Her existence as a muse to Gatsby serves to further the proposition that women need to be loved, not listened to, and her anger at the cost of upholding such strict expectations. But in Beautiful Little Fools, the novel is retold through a female viewpoint, giving voice to women otherwise relegated to the periphery of the novel. Their frustrations, wishes, and aspirations are more accurately accounted for by Cantor’s reinterpretation. Instead of being passive observers, these women demonstrate the power they have within a culture that is always deprecating them. Though they may seem to be “little fools” superficially, Cantor’s story demonstrates that their lives are multifaceted and full of power dynamics within a culture that leans towards curbing their choices. As a wife, Daisy is forced to be the “perfect” person in both books. She tries to transgress the boundaries of this role in The Great Gatsby by wishing to escape from her marriage to Tom Buchanan. But in the end, she gives in to the patriarchal longings of money and status and chooses security over desire. But Cantor’s book delves deeper into Daisy’s internal struggle, examining the cost of her actions and the societal pressures that propel them. Another intriguing parallel between the two books is Jordan Baker. Cantor highlights her ambition and will to thrive in the man’s world, specifically the professional sporting world, while Fitzgerald presents her as a powerful woman. Jordan’s plight of staying individual in a world that demands conformity is brought up by both novels. The stereotypical depiction of women in The Great Gatsby is thus undermined by Beautiful Little Fools, demonstrating that beneath the glitzy surface, they are struggling with social forces that demand perfection regardless of the price.