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Cover of "Dancing on Main Street," by Lorenzo Thomas, featuring two abstract faces drawn on to a green background, and several smaller abstract bodies drawn above them in an orange header.

Dancing on Main Street

Cover of "Lunar Follies," by Gilbert Sorrentino, which focuses on the image of a bench in some sort of gallery, as well as the blurred images of three bodiless shadows.

Lunar Follies

Cover of "Losing Absalom," by Alexs Pate, which shows several characters drawn in dark colors in various poses, as well as red wall and a staircase leading to a blue door. There is also a small graveyard next to the staircase that contains many small tombstones.

Losing Absalom

Cover of "Living Will," by David Hilton, showing an image of a path through a field and a tree in the background that is partially covered by fog.

Living Will

Cover of "Little Casino," by Gilbert Sorrentino, which shows a red door next to a purple wall panel; and on that panel there are several buttons that are labeled, a little slot, and a handle.

Little Casino

Cover of "Let's Not Keep Fighting the Trojan War," by Edward Sanders, which features a black and white image of half a mustachioed man's face and upper body, as well as blue and green splotches of color behind him.

Let's Not Keep Fighting the Trojan War

Cover of "Let the Dark Flower Blossom," by Norah Labiner, featuring an image of a field covered in snow and a cluster of bare-limbed trees.

Let the Dark Flower Blossom

Cover of "Legends from Camp," by Lawson Fusao Inada, which features a black and white photo of a man, woman, and a little boy, and the rest of the cover is a bright red.

Legends from Camp

Cover of "Leche," by R. Zamora Linmark, which shows a little toy vehicle etched with 'Philippines' on it, and the toy is positioned on a colorful rug.

Leche

Cover of "Leaving the Atocha Station," by Ben Lerner, which contains six different images that have all ben stretched out of proportion, so that it is difficult to tell what the original image was.

Leaving the Atocha Station

Cover of "Kind One," by Laird Hunt, which shows a hand holding a red string tied to a brass key.

Kind One

Cover of "Joe: A Memoir of Joe Brainard," by Ron Padgett, which features a photograph of a man wearing a sweater, tie, pants, and Converse sneakers, all in black and white.

Joe: A Memoir of Joe Brainard

Cover of "Isle of the Signatories," by Marjorie Welish, which shows signatures and writing in blue ink, but the writing and signatures have been inversed, so they are not readable.

Isle of the Signatories

Cover of "Irish Musicians/American Friends," by Terence Winch, which features a black and white photograph of a band holding their instruments. There is also a small four leaf clover and the top of the cover, and a small American flag at the bottom of the cover.

Irish Musicians/American Friends

Cover of "Iovis," by Anne Waldman, featuring a black and white drawing of two women from long ago; one is sitting and holding and object, and the is standing behind her.

Iovis, Book I: All Is Full of Jove

Cover of "In the Shadow of Al-Andalus," by Victor Hernández Cruz, which features a chair holding a white hat and a checkered, multi-colored wall behind it.

In the Shadow of Al-Andalus

Cover of "In the Room of Never Grieve," by Anne Waldman, which features an illustration of a woman hiding behind a white tree as an orange plane flies above her.

In The Room of Never Grieve

Cover of "In The Futurity Lounge," by Marjorie Welish, which has a bright orange background that has been inlaid with the praise of the book.

In the Futurity Lounge

Cover of "In the Builded Place," by Michael Heller, which shows a black and white sketch of a city at night, with the only color coming from the yellow street lamp. There is also the figure of a person standing on the sidewalk across from said street lamp.

In the Builded Place

Cover of "How To Leave a Country," by Cris Mazza, featuring a black and white image of a wicker chair surrounded by windows and a crumbling wall.

How to Leave a Country

Cover of "How to Be Perfect," by Ron Padgett, which features a detailed drawing in muted colors of a bird perched on some sort of wall mount.

How to Be Perfect

Cover of "How To Accommodate Men," by Marilyn Krysl, which features the image of a woman in a bikini lying on her side and shading her eyes. Above her is the image of an atomic bomb blowing up, which is shaded in red.

How to Accommodate Men

Cover of "How Long," by Ron Padgett, featuring the legs of a person wearing pinstriped pants and white sneakers standing on top of a cracked floor that has various shaped and colors on it.

How Long

Cover of "How I Learned," by Gloria Frym, which shows a black and white image of an old school room, complete with desks, chairs, and a blackboard.

How I Learned

Cover of "Hotel Lambosa," which has a sketched illustrations of a woman holding a small child and a man leaning towards them from the side. They are all colored in muted pastels and the border of the cover is in a turquois blue.

Hotel Lambosa

Cover of "Horse, Flower, Bird," by Kate Bernheimer, featuring a blue creature; the body of an ostrich, the head of a woman, and feathers in the shape of a large flower.

Horse, Flower, Bird

Cover of "Hold It 'Til It Hurts," by T. Geronimo Johnson, which features two blue envelopes sitting on a white marble surface.

Hold It 'Til It Hurts

Cover of "High Holiday Sutra," by Allan Appel, featuring a green background, part of the title contained in a cartoon scroll, and the figure of a cartoon man sitting in the Lotus position.

High Holiday Sutra

Cover of "Her Wild American Self." by M. Evelina Galang, featuring a drawn portrait of the author, as well as an image of a group of people of various ages in shades of red and white.

Her Wild American Self

Cover of "Handling Destiny," by Adrian Castro, which has an image of a rising sun, as well as an overlay of silhouetted people standing side by side in several rows diagonally.

Handling Destiny

Cover of "Half in Shade," by Judith Kitchen, which is an black and white photograph of a lady sitting on a fence, wearing a suit, and has her feet propped on a tire.

Half in Shade

Cover of "Gunga Din Highway," by Frank Chin, which has images of three Asian men in ceremonial robes above the Hollywood sign, and beneath them are rolling green hills with a road cutting through them.

Gunga Din Highway

Cover of "Guests of Space," by Anselm Hollo, which has an image of an old man in front of a door, a shadowy image on the wall behind the man, and everything is shaded in a dark purple hue.

Guests of Space

Cover of "Green is for World," by Juliana Leslie, focusing on the image of several scraps of paper in various shades of blues, greens, and whites.

Green Is for World

Cover of "Gorgeous Chaos," by Jack Marshall, which shows vivid colors of the rainbow in the style of a thermogram.

Gorgeous Chaos

Cover of "Glory Goes and Gets Some," by Emily Carter, which features a black and white image of a woman's eyebrow, eye, and a small portion of her hair is seen.

Glory Goes and Gets Some

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