Best American Short Stories

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The Best American Short Stories yearly anthology is a part of the Best American Series published by the Houghton Mifflin Company. Since 1915, the BASS anthology has strived to contain the best short stories by some of the best-known writers in contemporary American literature. Each year, a well-known guest editor organizes the book.

1 Edward O'Brien
2 Martha Foley
3 Since 1978
4 Sources
5 See also
6 External links

[edit] Edward O'Brien

The series began in 1915, when Edward O'Brien edited his selection of the previous year's stories. This first edition was serialized in a magazine; however, it caught the attention of the publishing company Small, Maynard, and Company, which published subsequent editions until 1926, when the title was transferred to Dodd, Mead and Company.

The time appeared to be a propitious one for such a collection. The most popular magazines of the day featured short fiction prominently and frequently; the best authors were well-known and well-paid. More importantly, there was a nascent movement toward higher standards and greater experimentation among certain American writers. O'Brien capitalized on this moment. He was deeply and vocally skeptical of the value of commercial short fiction, which tended to the formulaic and sentimental; he insisted, in introduction after introduction, on the need for a consciously literary development of the short story. He used his selections to reinforce this call. Over the years of his editorship, he drew attention to two generations of American authors, from Sherwood Anderson and Edna Ferber to Richard Wright and Irwin Shaw. Perhaps the most significant instance of O'Brien's instincts involves Ernest Hemingway; O'Brien published that author's "My Old Man" when it had not even been published yet, and was, moreover, instrumental in finding an American publisher for In Our Time. O'Brien was known to work indefatigably: he claimed to read around 8,000 stories a year, and his editions contained lengthy tabulations of stories and magazines, ranked on a scale of three stars (representing O'Brien's notion of their "literary permanence.")

Though the series attained a degree of fame and popularity, it was never universally accepted. Fans of the period's popular fiction often found his selections precious or willfully obscure. On the other hand, many critics who accepted "literary" fiction objected to O'Brien's occasionally strident and pedantic tone. After his death, for instance, The New Yorker compared him to the recently-deceased editor of the Social Register, suggesting that they shared a form of snobbery.

[edit] Martha Foley

O'Brien died of a heart attack in London in 1941. He was replaced as editor of the series by Martha Foley, founder and former editor of Story Magazine. O'Brien, who had once called Story one of the most important events in literary history since the publication of Lyrical Ballads, presumably would have approved the choice. Foley edited the publication, at first alone and then with the assistance of her son, David Burnett, until 1977. These years witnessed both the ascendancy and eclipse of the type of short story favored by O'Brien: writers as diverse as John Cheever, Bernard Malamud, and Joyce Carol Oates offered sharply observed, generally realistic stories that eschewed trite conventions. At the same time, Foley evinced some degree of awareness of the new currents in fiction. Donald Barthelme, for instance, was chosen for The School in 1976. Foley also attended to the rise of so-called minority literature, dedicating the 1975 volume to Leslie Marmon Silko, although it has been argued that the series was less perceptive in this area than it might have been.

[edit] Since 1978

After Foley's death, the publisher--by that time, Houghton Mifflin-- elected to take the series in a new direction. Under the general editorial guidance of a professional editor (first Shannon Ravenel, and then Katrina Kenison), the volume would be edited by a different American writer each year. The guest writer would select his or her favorites from a larger group selected by the series editor. This format has been followed since.

In 2002, Houghton-Mifflin made the series part of its broader Best American series.

Guest editors of the BASS anthology from 1978 to 1989: