So we start off with a curse - that's standard. Or better, the lack of a curse, a nice play on the previous stories and yet a possible weakness if you're planning to disregard those.
So let me now say that I won't do that. If I would, then I would expect more introduction to setting and characters in stories 2 and 3, and I would be bored. But I can't expect Sialia to keep the stories apart and yet not repeat herself in presentation, so I'm happy with continuity.
And yet, the beginning of the story is in my mind too dependant on the previous story (yes, I know, I contradict myself). We start off with the mourning for someone who died somewhere and somehow - all of this happening before the story. While I don't really need a total independence of the stories, they should be capable to at least barely stand alone. The second story, while keeping characters and setting, was a good example of that. The End of the World, however, reads like another chapter of a book, not like an autonomous short story or, in Sialia's case, novella.
So then we retread "Shogun", albeit without Richard Chamberlain, but complete with Dutch language and a bathing scene reminiscent of Clavell. The End of the World seems to be in Japan.
I was put off by that culture change somehow, as well as the sudden change in climate.
I loved the maypole scene, however, and would have really liked to know who won
Volpe repeats more than once his admonishment about the last village, the very last village. I understood it as "please let us remain in good graces of at least one settlement." So it's not only the last village on the planet, meaning the village on the Edge of the World, but also the last village Volpe hasn't had to flee yet. However, I don't think that really became clear.
Speaking of clarity, there are some things that could have been cleared up. Especially when the story is as long as this one (compared to other entries), leaving motivations or circumstances vague should be avoided. Why else do you need the space, if not to explain why Mirabelle suddenly throws herself at Volpe with abandon, so much that she gets frustrated when he doesn't reciprocrate. Of course, Tarnby's death, the liquor, the illithids all play a part in this, but by refusing to show us Mirabelle's point of view, it doesn't seem natural for her to act thusly - especially so close after attacking the friendly Miguel at the mere suggestion of indiscretion.
On the other hand, the story is full with hints and suggestions of greater ideas: the crumbling village with people still living there, Miguel and his numerous wives, some might even be his (grand-)daughters, the fleetingness of time. Lillabo's dreams are symbolic and poetic, and really enhance the mood.
The final confrontation is suprising because the reader wouldn't expect the fungus having such an effect and absorbing the illithids. Lillabo's death wasn't that surprising anymore, and also not very harrowing, but the professor's singing proved a strong companion to her sacrifice, and I liked that very much. If Volpe would have died, as well, and Mirabelle had remained - she who shut herself off from others, finally alone - that would have been tragic, and I would have preferred such an end.
As it is, the story ends on a high note, with the promise of future. The conflict, once again, was glossed over (like the conflict with the mind flayers, or the theft of the boat), as it was not important for the hero's voyage.
All in all, if you would want to write more short stories, I'd try and cut even more than you probably did. The maypole, Miguel, and some minor things wouldn't have been necessary for the story, especially out of the contest context (with no need to incorporate the pictures). My suggestion, however, would be to concentrate on novels, as you'd have more space to flesh out your themes and ideas - and I'd really enjoy that.