Erik Erikson stated, “In the social jungle of human existence, there is no feeling of being alive without a sense of identity.” To feel alive one requires an identity, a sense of who one is and what their purpose is, this sense of identity is what Kilgore Trout and Isadora Wing lack. In, "Breakfast of Champions," Kurt Vonnegut depicts the journey of a pessimist writer who struggles with his past and questions who he is and what the real purpose of his life carries. Vonnegut puppeteers the characters through his power as the author to guide Kilgore along a path of discovery but in reality this journey is the struggle of Vonnegut’s life and his identity, Kilgore’s journey serves as a masking to this purpose. In a similar manner, Erica Jong uses Isadora Wing in Fear of Flying to narrate the life of a desperate women who is tormented by her past, constantly escaping pain and seeking anyone who can bring her what she most desires: pleasure and power. Parallel to Vonnegut’s novel Jong also uses her writing to reflect experiences of her personal life and her struggles. Through the journey of self-discovery of Kilgore Trout and the hedonistic journey of Isadora Wing, Kurt Vonnegut and Erica Jong both puppeteer the characters to reflect their identity struggles and personal strains. Vonnegut describes Kilgore Trout as a depressed, pessimist science fiction writer who no one knows about until one of his texts is read by a rich influential women, Eliot Rosewater, who pulls some strings in the Arts Festival to let the world know of Kilgore Trout. This description of Kilgore can be considered to be Vonnegut during the Great Depression and the influential rich women can be considered to be Phoebe, the women to whom, "Breakfast of Champions," is dedicated to. Vonnegut states how “she taught us to be impolite in conversation,” (Vonnegut 2) and as a result, “I now make my living by being impolite,” (Vonnegut 2). Phoebe is Eliot Rosewater, she taught Vonnegut to talk his mind and be who he is now which allowed for his success just as Rosewater made Trout be able to become a well-known writer who in his journey to the festival was able to find himself. Vonnegut controls all the outcomes and actions all the characters in the book take, he controls them like puppets so that Trout’s journey isn’t just a trip to an Arts Festival where he can tell the world about, “all the thousands of artists who devoted their lives to a search for truth and beauty – and didn’t find doodley-squat!” (Vonnegut 37). The purpose of the trip is for Trout to know himself instead of the people around him and realize who he is in his eyes instead of the eyes of others, to know that he can adapt to the chaos around him. Vonnegut wants Trout to do what he has done in his life. “It is hard to adapt to chaos, but it can be done. I am living proof of that: It can be done” (Vonnegut 215). Vonnegut then tells how he “would bring chaos to order,” (Vonnegut 215) when he writes and how his life was a chaos to which he adapted. This is what Trout learns to do in his journey, from being secluded in his apartment he learns about the messed up lives of people around him and he goes along with it, he doesn’t try to solve it, instead he makes more chaos. When he told Dwayne the words, “Yes – that’s it,” (Vonnegut 259) Trout triggered a bomb, Dwayne was going out of his mind and Trout had told him that the message the, “Creator,” had for him was in his book, Now It Can be Told. After reading the book Dwayne went on a rampage and shot people, hit people, he went all berserker. Trout tried to stop Dwayne at one point but, “Dwayne bit off,” (Vonnegut 281) one of Trout’s finger tips and, “he spat Kilgore Trout’s fingertip into Sugar Creek,” (Vonnegut 281). After this Trout just watched the results of the chaos and let it be, he sat down in the ambulance quietly and observed, he adapted. Vonnegut gives a name to this adaptation to chaos: “be born again,” (Vonnegut 224). It is for that purpose that Vonnegut manipulates the scenes in the book, so that Trout makes it into Midland city in time to trigger the bomb and be able to experience the chaos and realize he has to adapt to it, that it is not all about the people around him but about him and his actions and how it can affect others, he also has power and can be the “Creator” of his own universe. Vonnegut tells Trout, “I am cleansing and renewing myself for the very different sorts of years to come,” (Vonnegut 301) and he then tells him, “arise Mr. Trout, you are free,” (Vonnegut 301). Trout then answers back in Vonnegut’s father’s voice, “make me young, make me young, make me young!” (Vonnegut 302). In the same way that Vonnegut is born again Trout wishes a rebirth too and that is why he calls for his youth again, to be reborn as the person he now knows he is, an influential writer with a chaotic past, a past he has now adapted to an