We were trying to get far away from the idea, so promulgated, of the perfection of the poem with white space around it, set off from other things. The first cover was a mimeograph stencil — it was dark blue. Next was a rainfall map of the US. The third cover was all the first lines of work in the magazine. For the fourth issue, we wrapped all the book jackets Vito and I had in our possession around the cover. The fifth cover was a crumpled sheet of paper and the sixth was six blank sheets of paper.