Excellent stories by a nearly forgotten author, Jean Stafford

Inspired by reading an excellent story by Jean Stafford in the recent New Yorker throwback edition, I've been reading in her Collected Stories (1969) and am impressed with all that I've read so far. She's been largely a forgotten author, perhaps because she was primarily a writer of short fiction, and perhaps because she lived in the shadow of her more famous and deeply troubled husband (of a decade or so), Robert Lowell. Also, by today's standards, her stories feel a little over-wrought: elegant language, Latinate vocabulary, much exposition - all of which to me mark them as elegant and classic, but they must seem even to today's serious readers as quaint and heavy - like a prime roast when everyone's now eating quinoa. (Compare her stories w/ those in any recent well-received story collection - say, Forida or Goon Squad - and you'll immediately see the difference in tone.) Her range of topics may be narrow - many of the stories center on a young woman who feels out of place in her world, generally because of what she sees as a limited or sheltered background, and who feels ignored and humiliated by a "higher' social set - but she explores w/in that range with great insight and precision. Among the more notable stories, aside from the one that was in the New Yorker (Children Are Bored on Sunday) would be The Nemesis (a clearly disturbed young woman in some sort of study abroad program) and others whose titles I can't recall: One about a young woman from the far West working in a New England boarding school and having fantasies about the lives of those living near her - whom she completely misjudges; another about a young woman in France who finds herself completely silent, unable to utter a word in the language. Some of the stories are vicious in their depiction of racism and class-snobbery; one turns the usual Stafford motif on its head and centers on two new faculty members - more aware and self-confident that the stuff shirts in their Midwest academic community - who start as friends and colleagues and inevitably fall in love. I have to note, re this edition, that it's infuriating that the editorial team at FSG give no information on the publication dates of the stories (they had to have been written in the 40s,50s, and 60s) and that they are grouped by 4 loosely defined themes (e.g., Innocents Abroad) and not even, so far as we can tell, arranged chronologically with groups. What's that all about? Author's direction or editorial whim?