Three more anthologies published last year suggest that while the [short] story remains one of our most flexible popular literary forms, and the quickest to absorb signals from the culture, if we’re on the verge of another revolution, the shockwaves haven’t registered yet. Or perhaps the short story in America has matured to a point where the form can no longer be shocked.
Is the short story, as a form, done growing up? The history of the Best American Short Stories series may hold the answer.
