A lot of people who want to see the short story have a renaissance of readership - they tend to think of short stories, and sometimes poems too, as being well-suited to the way we now live, with all of these broken-up bits of time. I hope they're right, but my sense is that our fiction reading has become, if anything, more cherished as a kind of escape from fragmentation.

So, short stories have an even harder time, because they tend to get read during the day, between other things. They're interstitial. And yet the content of short stories tends to be very much "nighttime" content.

It used to be that you would go into a writing program and what you would learn was how to write a short story. You would pick up the magazines and you would be taught from the magazines how to write a short story. Nowadays student writers are learning to write novels because that market is gone, so the ones who are drawn to the form are doing it really for reasons of their own and that's really exciting.

We've never had a giant circulation. And we've always been a magazine for writers and for sophisticated readers. We've never had to run stories that would appeal to a million people. And what you end up with is a kind of tradition that might have staying power - the cockroach after armageddon.

You can go back and try to generalize, but then you end up saying things that all editors say about everything that ever gets published. Something about voice, about urgency, about actually having a story to tell.

Names don't matter, CVs don't matter, previous publications don't matter at all, because, in a certain way, the ideal is for someone to come completely out of left field. And still, of course, it is hard to say no to a writer who matters a lot to you and who you know matters to your readers.

The real threat to reading isn’t the time we spend hanging out, it’s the time we spend online.