A book like I'// Take Manhattan, which enjoys such popular success and such critical failure, presents a puzzle to intelligent analysis. Unlike Princess Daisy (1979) or Mistral's Daughter (1982), where the formula was evident and the flaws inherent to the success, here there appears to be no redeeming factors, no basis for the broad appeal, no enduring or insightful themes, no endearing or unique characters. Thus, the nature of the appeal must be the escape it offers from the boredom of ordinary life. Maxi's life is not ordinary. Krantz sacrifices all elements of plausibility and even likability in Maxi in order to surround her with possessions, environments, and activities reserved for the very rich and the very hedonistic. Through Maxi, readers can vicariously enjoy all the forbidden and expensive fruits of wealth, without gaining a pound or feeling the slightest twinge of guilt.