By ANDREW IRWIN
Does the short story have a bright commercial future? Maybe not – but let’s enjoy it anyway. That seemed to be the message to take home from the recent London Short Story Festival. Only in its second year, the festival is growing, with sixty-five writers involved and dozens of events to attend. The organization of, and transition between, these events was broadly slick but had just enough hiccups (microphones that just wouldn’t stay on; the shrill hiss of feedback from the speakers; passing vehicles that prevented the panel’s audibility for decent stretches at a time), to make the whole thing seem likeable.