Dissapointed in Elizabeth Spencer's final work - with the exception of one excellent story

I honestly wish that I'd liked more Elizabeth Spencer's last book, Starting Over - Stories (2014), as hers is such a great story in itself: A long career in writing with I think 9 novels and numerous stories and other publications with her one great success published in 1960 when she was about 40 years old - the terrific short novel Light in the Piazza. But after that, she was never considered among the top American writers of literary fiction, more or less forgotten (hers were the days when many popular magazines published literary fiction and a writer could make some $ from short stories - those days gone). Then, 40 years later, her great novel was rediscovered and made into an excellent Broadway musical - and suddenly people were reading Elizabeth Spencer once again. I assume she continued writing short fiction over all those decades, and Starting Over brings together about a dozen of her final stories, published (and presumably written) when she was in her 80s and early 90s. She died last year in her late 90s. This book comes with megastar jacket blurbs: Richard Ford, Eudora Welty, Alice Munroe - does it get any better than that? It's too bad but these stories collected are seemingly an homage to Spencer and her writing career and not great stories on their own; none is bad in any way, but for the most part they feel perfunctory, undeveloped: Almost all of them hit us immediately with a lot of characters, not well differentiated, and it's really hard to read through without checking back repeatedly to find out, wait, who's Tim again? Which one is Ralph? etc. They're all OK but not groundbreaking, and with little or no connection to the world beyond these characters - they could depict almost any era for the past 100 years, despite an occasional topical reference to, say, a presidential election. They are distinctly Southern in voice, but not as richly developed as Welty's fiction, or O'Connor's - they're very "white," domestic, and almost like sketches for a novel that's never to be written. There is one exception, however: The Everlasting Light (first published in a newspaper!) is a story full of sorrow and subtle emotion - a man pondering the sad prospects for his somewhat awkward daughter - the only story in this collection that reaches the same heights as Light in the Piazza, and it's impossible not to empathize with both the father and the daughter. This one story makes the collection worthwhile and captures Spencer's sensibility at its best in her final work.