How do series work?
To create a series or add a work to it, go to a "work" page. The "Common Knowledge" section now includes a "Series" field. Enter the name of the series to add the book to it.
Works can belong to more than one series. In some cases, as with Chronicles of Narnia, disagreements about order necessitate the creation of more than one series.
Tip: If the series has an order, add a number or other descriptor in parenthesis after the series title (eg., "Chronicles of Prydain (book 1)"). By default, it sorts by the number, or alphabetically if there is no number. If you want to force a particular order, use the | character to divide the number and the descriptor. So, "(0|prequel)" sorts by 0 under the label "prequel."
What isn't a series?
Series was designed to cover groups of books generally understood as such (see Wikipedia: Book series). Like many concepts in the book world, "series" is a somewhat fluid and contested notion. A good rule of thumb is that series have a conventional name and are intentional creations, on the part of the author or publisher. For now, avoid forcing the issue with mere "lists" of works possessing an arbitrary shared characteristic, such as relating to a particular place. Avoid series that cross authors, unless the authors were or became aware of the series identification (eg., avoid lumping Jane Austen with her continuators).
Also avoid publisher series, unless the publisher has a true monopoly over the "works" in question. So, the Dummies guides are a series of works. But the Loeb Classical Library is a series of editions, not of works.
The twenty-two essays in this powerful collection -- perhaps the most diverse in the entire series -- come from a wide variety of periodicals, ranging from n + 1 and PMS to the New Republic and The New Yorker, and showcase a remarkable range of forms. Read on for narrative -- in first and third person -- opinion, memoir, argument, the essay-review, confession, reportage, eThe twenty-two essays in this powerful collection -- perhaps the most diverse in the entire series -- come from a wide variety of periodicals, ranging from n + 1 and PMS to the New Republic and The New Yorker, and showcase a remarkable range of forms. Read on for narrative -- in first and third person -- opinion, memoir, argument, the essay-review, confession, reportage, even a dispatch from Iraq. The philosopher Peter Singer makes a case for philanthropy; the poet Molly Peacock constructs a mosaic tribute to a little-known but remarkable eighteenth-century woman artist; the novelist Marilynne Robinson explores what has happened to holiness in contemporary Christianity; the essayist Richard Rodriguez wonders if California has anything left to say to America; and the Harvard biologist Edward O. Wilson attempts to find common ground with the evangelical community.
In his introduction, David Foster Wallace makes the spirited case that “many of these essays are valuable simply as exhibits of what a first-rate artistic mind can make of particular fact-sets -- whether these involve the 17-kHz ring tones of some kids’ cell phones, the language of movement as parsed by dogs, the near-infinity of ways to experience and describe an earthquake, the existential synecdoche of stagefright, or the revelation that most of what you’ve believed and revered turns out to be self-indulgent crap.”...more
Paperback, 307 pages
Published October 10th 2007 by Mariner Books