What's "European" about the Best European Fiction 2012?

Wondering as I continue to read through Aleksandar Hemon's anthology "Best European Fiction 2012" what exactly is European about the stories other than place setting and language. Noted in earlier posts that the European writers, if this is a representative sample, tend to be more engaged in experiments with form and voice than American writers (several stories wrote in one paragraph fragments, one in sentence fragments, one in essentially a long take, one with interpolated news bulletins, another in the 2nd person, one with paragraphs assembled in random chronological order) - but I don't know that this is exactly avant-garde - seems a little derriere garde, as American writers were more interested in formal experiments in the 70s and 80s than they are today. Of course the setting of a story is often revealing and important - but many of these stories could I think just as easily be set in the U.S. Could the same be true of American stories? Could they be transposed to the U.K. or to Europe? Sometimes - as we're in a much more global culture today than we were 50 years ago, and many stories today are about rootless, alienated people - they'd be the same in any setting. But I think there's something more particularly American about the best American fiction, an openness of style and point of view, that would not hold or make sense in a European setting: can you picture an Ann Beattie or a Charles Baxter or a Tom McGuane of a George Saunders story transposed to Europe? Much less a Raymond Carver or a John Updike or a Eudora Welty?