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"A cast of soulful characters, a heartfelt examination of gender identity, and a meticulously detailed portrait of the 1960s." — Booklist
"The final volume of the quartet is at least twice as long as any of the previous three books, and it packs a punch that is likewise heftier."
—Librarian in Tie-Dye
"Readers who immerse themselves in the drug-hazed, paranoid world of the American underground that Maillard protrays in Looking Good will be struck by a muscular, powerhouse narrative and rich characterization that's evocative of fiction giants like Robert Stone."
—Edmonton Journal
"[Maillard] has an extremely tight grip on his subject matter (I know, I was there), recounting the growing sectarianism of the New Left and its intensifying drug-fuelled paranoia, some of it quite justified. Anyone with memories of the political radicalism of the 60s will connect with this material." — NOW Magazine
The Summer of Love is already like a distant memory;
the psychedelic underground has turned in on itself. John Dupre
has deserted a perfectly satisfying life as a student in Toronto,
drawn back to the US by the need to “make a difference”
in the Revolution. He’s living in Boston—under an assumed
name because he’s on the FBI’s wanted list for draft eva-sion.
His best friend is Tom Parker, an ex-GI turned
righteous drug dealer. When John, Tom, and the militant feminist
and Situationist Pam Zalman seize control of an underground newspaper
and are put on the Weatherman hit list, there’s really no place
to hide—they’re wanted on all sides.
It’s the year of the Harvard Square riot,
the invasion of Cambodia, and Kent State. Campuses across America
are host to demonstrations and riots. Burning ROTC buildings has
become an everyday pastime. Pam and John forge a relationship where
they’re “struggling against sex roles.” The Left
is splintering into ever smaller and crazier micro-fac-tions. And
that’s when things begin to get really weird . . .
Looking Good is a masterfully crafted,
meticulously reconstructed social history of the ’60s counterculture
and a searching examination of gender identity—the magnificent,
explosive climax to Difficulty at the Beginning.
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