Editor’s Note of Gratitude
Twenty-Five Years of Valparaiso Poetry Review
I am pleased to present this new release of Valparaiso Poetry Review. Volume XXV, Number 2 closes 25 years of the journal’s publication. Begun in 1999, VPR has existed as one of the longest running online literary journals. During its quarter century tenure, nearly 1400 poems have now appeared alongside about 300 pieces of prose—book reviews, author interviews, and commentaries or essays. From the start it was determined that past published works should remain in the archives for continuous browsing by readers; as a result of that choice, the site has experienced close to one million “hits” in its history.
When the initial issue appeared, web browsers were very new and most users of the Internet continued to access servers through dial-up means. Along with a few other faculty prepared with knowledge about the recent availability of Netscape Navigator cost-free to educational institutions, I had encouraged Valparaiso University to adopt the web browser format. The idea of an online poetry journal seemed novel at the time, and as I proposed the launch of a national/international digital literary magazine to my department chair, he had no idea what the concept entailed. Electronic publishing of periodicals for creativity or research still had little presence. Indeed, few examples existed. Social media was also almost wholly unknown since popular digital devices or services and common online platforms were yet to be introduced: Facebook (2004), Gmail (2004), YouTube (2005), Twitter (2006), iPhone (2007), WhatsApp (2009), Instagram (2010), iPad (2010), Snapchat (2011), Zoom (2011), TikTok (2018), etc. Like many others, my department chair didn’t even use email; so, I understood his puzzlement. However, as a matter of blind faith in me, he approved the process going forward, a decision I have greatly appreciated over the years.
Frankly, I had little more technical knowledge about computers and the Internet, and I was aware I would be responsible for all construction and maintenance of the journal. Since 1991 I had been a member of literary and creative writing “listserv” interactive email communities with friends or fellow writers across the country, sometimes spontaneously engaging in online group events and meet-ups in pioneering fictional cyber social settings. Most of those sessions took place at midnight or later to assure secure dial-up connectivity. Nevertheless, the introduction of more convenient and reliable web browser access at the university sparked my thoughts about the possible promise for regular online publication of a literary journal with universal distribution.
In fact, since I had served as an editor on conventional journals in the past, I realized and respected the value of print on paper. From day one, the Submission Guidelines page for VPR stated “this journal has been meant to serve as a complement to print issues of literary magazines and poetry collections, not as a replacement for those traditional and greatly valued publications.” Further, until interruption because of logistical complications arising during the covid pandemic, each issue of VPR contained an extensive Recently Received and Recommended Books section that urged visitors to purchase newly released volumes of poetry or criticism. Additionally, hundreds of authors’ book collections have reprinted poems that first appeared in VPR. The attitude of holding a high regard for traditional print publications led to the tenth anniversary anthology gathering a selection of poems from VPR in Poetry from Paradise Valley, a book published by Pecan Grove Press that was officially released on New Year’s Day in 2010. But I also recognized the limitations of physical texts in reaching an audience because of high production costs or practical problems in delivery.
The first decade of VPR relied almost solely upon postal snail mail submissions. Moreover, the plan involved including established authors alongside emerging writers in the table of contents with the added advantage of offering the lesser known poets’ works some increased exposure. However, some of the most notable literary figures who graciously appeared in early issues didn’t even own or use personal computers, only corresponding through letters and poems enclosed in envelopes. Eventually, there have been a half dozen Pulitzer Prize winners, three Poet Laureates of the United States, and a Booker Prize winner—as well as numerous finalists or recipients of the National Book Award, the National Book Critics Circle Award, the National Endowment for the Arts, and various foundation grants—among VPR contributors. Just as important, many of the poems included in VPR by emerging authors later appeared in their first book publication, and I was always elated to see the journal’s name listed among those others on the acknowledgements page. Frequently, the journal has also consciously highlighted small presses among its book reviews.
With the subsequent submission process shift to email, the number of works received increased significantly. In recent years, Valparaiso Poetry Review has received nearly 10,000 submissions per twelve months—a 365-day average of 26 new items to be reviewed each calendar morning and almost 5,000 works to be considered for an issue. An estimate of individual pieces that have been submitted during the journal’s history now surpasses 150,000. Although mindful of attempting a quick response time to the flow of correspondence, I have carefully read every entry with interest and hope for a new discovery. Candidly, I can acknowledge often facing difficult decisions since I have obviously found many more exemplary examples of poetry than the total that could comfortably fit within any specific volume of VPR.
Submissions to VPR have come from all over the United States as well as almost 30 other nations, including Canada, England, Australia, Ireland, Germany, France, Italy, Israel, Turkey, South Africa, Greece, Austria, Netherlands, Norway, Sweden, Poland, Hungary, Lithuania, New Zealand, India, Russia, Japan, Mexico, Argentina, Chile, South Korea, Turkey, Portugal, and Spain. The journal’s universal appeal is mirrored in the international readership as well. Due to the continuing success of Valparaiso Poetry Review during its first decade, I encouraged establishment of Valparaiso Fiction Review, which initially appeared in the fall of 2011 as a complementary journal for VPR. Originally, fiction writers were more hesitant than poets to accept the validity of online publication, but by then many were becoming open to their fresh pieces appearing in an electronic magazine. As a founder and co-editor with my colleague Jon Bull, I have enthusiastically engaged in many of the same activities with VFR that I have for VPR, and I heartily recommend its short stories to readers. VFR has just published its 26th issue (Summer 2024), and all works of fiction from past releases are available in its archives as well.
When I was considering the project of an online poetry journal publication in late 1998, my wife and I happened to be shopping for typewriter ink ribbons at a local Staples store, where she thoughtfully bought a Web for Dummies guidebook for me as a helpful but humorous sign of her support. With its open pages in my lap for guidance, I wrote HTML code and constructed the premiere issue, including among its contents some members whom I had invited from the national Internet writers’ communities in which I had participated. Accordingly, I am forever thankful for their willingness to contribute works and create a precedent that would encourage others to submit, especially at a time when the idea of online publishing was suspect or frowned upon by most in literary circles. In fact, web publication was usually not recognized as legitimate accomplishments by universities and other institutions for tenure or fellowship applications.
Following the release of Valparaiso Poetry Review’s first issue, I was invited to speak at the university about my vision for the future of digital media. In that talk nearly 25 years ago, I forecast to the skeptical audience a scenario in which all publications would have an online presence, all movies would be available for retrieving at will and viewing with our computers linked to large screens, television entertainment and news would be streamed online alongside other documentary sources, live readings or seminars would be directed to international audiences, books and other products could be purchased through virtual shopping, and extensive digital versions of libraries would exist on demand from the simple click of a link. In the period since the journal’s establishment, I have been delighted to witness the tremendous transformation of various online media, especially publishing venues, with their opening of opportunities to writers and a widespread availability for readers. The sophisticated advances in quality of presentation—and the hybrid inclusion of hypertext plus other visual or audio media, as well as improved interactive elements—are to be applauded since they have enhanced the experiences for all.
The establishment in 1999 of an online literary journal based at a university and focused on poetry, a publication formed simply to reflect the appearance of a print periodical but with a possibility of greater distribution, might now seem an antiquated idea. However, the journey these past two and a half decades has been productive and enjoyable for me. Additionally, I trust it has been rewarding for the writers whose works have been displayed worldwide and for those visitors to the thousands of pages presenting poetry or prose. Consequently, on this silver anniversary celebration, I extend my sincere gratitude to all the contributors, readers, and other supporters of Valparaiso Poetry Review.
Thank you!
—Edward Byrne, Editor of Valparaiso Poetry Review