Sara B. Metcalfe
LSI 606 – Advanced Cataloging
Library of Congress Classification
PN 453 .P5 1992
Plimpton, George. Writers at Work: The Paris Review Interviews (Ninth Series). New
York: Viking Press, 1992.
McGeagh, Ellen, ed.
Poetry Criticism:
Excerpts from Criticism of the Works of the
Most Significant and Widely
Studied Poets of World Literature.
Vol. 3. Detroit: Gale Group, 2001.
PN 6084 .A3 1999
Adrain, Lorne A.
The Most Important Thing I Know: Life Lessons from Colin Powell,
Stephen Covey, Maya Angelou and
over 73 Other Eminent Individuals.
New York: MJF Books, 1999.
PS 153 .N5 1996
Bloom, Harold. Black American Women Poets and Dramatists. New York: Chelsea
House Publishers, 1996.
PS 366 .B56 1998
Bloom, Harold. Women Memoirists. Vol. 1. Philadelphia: Chelsea House Publishers,
1998.
PS 551 .W3 1998
Watkins, James H.
Southern Selves: From
Mark Twain and Eudora Welty to Maya
Angelou and Kay Gibbons: A Collection of Autobiographical Writing. New York: Vintage Books, 1998.
Angelou, Maya. The Complete Collected Poems of Maya Angelou. New York:
Random House, 1994.
PS 3551 .N464 A6 1986
Angelou, Maya. Maya Angelou: Poems. New York: Bantam, 1986.
PS 3551 .N464 A63 1973
Angelou, Maya. And Still I Rise. New York: Random House, 1978.
PS 3551 .N464 B7 1995
Angelou, Maya. A Brave and Startling Truth. New York: Random House, 1995.
PS 3551 .N464 E94 1997
Angelou, Maya. Even the Stars Look Lonesome. New York: Random House, 1997.
PS 3551 .N464 I83 1990
Angelou, Maya. I Shall Not Be Moved. New York: Random House, 1990.
PS 3551 .N464 J8 1971
Angelou, Maya. Just
Give Me a Cool Drink of Water ‘Fore I Diiie: Poetry of Maya
Angelou. New York: Random House, 1971.
PS 3551 .N464 N6 1987
Angelou, Maya. Now Sheba Sings the Song. New York: Dutton/Dial Books, 1987.
PS 3551 .N464 O5 1997
Angelou, Maya. O Pray My Wings Are Gonna Fit Me Well. New York: Bantam Books,
1997.
PS 3551 .N464 O58 1993
Angelou, Maya. On the Pulse of Morning. New York: Random House, 1993.
PS 3551 .N464 P4 1994
Angelou, Maya. Phenomenal Women: Four Poems Celebrating Women. New York:
Random House, 1994.
PS 3551 .N464 S53 1983
Angelou, Maya. Shaker, Why Don’t You Sing? New York: Random House, 1983.
PS 3551 .N464 S6 2002
Angelou, Maya. A Song Flew Up to Heaven. New York: Random House, 2002.
PS 3551 .N464 W68 1993
Angelou, Maya. Wouldn’t Take Nothing for my Journey Now. New York: Random
House, 1993.
PS 3551 .N464 Z461 1986
Angelou, Maya. All God’s Children Need Traveling Shoes. New York: Random House,
1986.
PS 3551 .N464 Z463 1989
Angelou, Maya. Conversations with Maya Angelou. Ed. Jeffrey M. Elliot. Jackson:
University Press of Mississippi, 1989.
PS 3551 .N464 Z464 1974
Angelou, Maya. Gather Together in my Name. New York: Random House, 1974.
Angelou, Maya. En Mi Nombra. Barcelona: Editorial Lumen, 2000.
PS 3551 .N464 Z4644 1981
Angelou, Maya. The Heart of a Woman. New York: Random House, 1981.
PS 3551 .N464 Z465 1970
Angelou, Maya. I Know Why the Caged Bird Sings. New York: Random House, 1970.
PS 3551 . N464 Z46514 1990
Angelou, Maya. Je sais Pourquoi Chante l’Oiseau en Cage. Paris: Pierre Belfond, 1990.
PS 3551 .N464 Z466 1999
Hobbs, Avaneda D.
Dr. Maya Angelou: As
Seen Through the Eyes of America:
Honoring Woman Full of Life. Forestville, MD: Cap Publishing and Literary Company, 1999.
PS 3551 .N464 Z467 1997
Angelou, Maya. Singin’ and Swingin’ and Gettin' Merry Like Christmas. New York:
Bantam Books, 1977.
Tate, Claudia, and Johnson, Marguerite. Escritoras Negras en el Ambito del Trabajo.
Mexico: Noema, 1986.
PS 3551 .N464 Z54 1997
Hagen, Lyman B.
Heart of a Woman, Mind of a
Writer, and Soul of a Poet:
Critical
Analysis of the Writings of Maya Angelou. Lanham, MD: University Press of
America, 1997.
PS 3551 .N464 Z542 2002
Jones, Brenn. Learning About Achievement from the Life of Maya Angelou. New York:
PowerKids Press, 2002.
PS 3551 .N464 Z63 2002
Bloom, Harold. Maya Angelou. Broomhall, PA: Chelsea House, 2002.
PS 3551 .N464 Z631 2001
Nancy Shuker. Maya Angelou: America’s Poetic Voice. Woodbridge, CT: Blackbirch
Press, 2001.
PS 3551 .N464 Z632 2000
Raatma, Lucia. Maya Angelou: Author and documentary filmmaker. Chicago:
Ferguson Publishing, 2000.
Lupton, Mary Jane. Maya Angelou: A Critical Companion. Westport, CT: Greenwood
Press, 1998.
PS 3551 .N464 Z637 1999
Courtney-Clarke, Margaret. Maya Angelou: The poetry of living. New York: Clarkson
Potter, 1999.
Bloom, Harold, ed. Maya Angelou’s I know Why the Caged Bird Sings. Philadelphia:
Chelsea House Publishers, 1998.
Braxton, Joanne. Maya Angelou’s I Know Why the Caged Bird Sings: A Casebook.
New York: Oxford University Press, 1999.
Megna-Wallace, Joanne.
Understanding I Know Why the Caged Bird Sings: A Student
Casebook to Issues, Sources, and Historical Documents. Westport, CT: Greenwood Press, 1998.
The goal of LC classification is to keep together all literary works by a single author in a single language. 20th-century authors for example, are assigned a single class number, with a cutter. This number is structured based on:
· Language
· Nationality
· Period of writing.
One must remember that the cutter number for the author is usually based on the second letter of the author’s last name. This is necessary because the first number refers to the first letter of the author’s last name. For 20th-century authors, the third cutter is usually based on the schedule P-PZ Language and Literature Tables. In our case, the third cutter reflects the book itself, and is often based on the title of the original edition of an individual work by the author. However, the cutter number may also reflect:
· Collected works of the author. (The absence of a second cutter may also indicate complete collected works.)
· Selected works
· Translations of collected or selected works (not individual titles)
· Works about the author.
One difficulty with using this table, is assigning second cutter numbers to books with very similar titles that fall under the same type of work. For example:
These all fall under General Works (.xZ5-.xZ999)
Maya
Angelou: A Critical Companion
Maya
Angelou: The poetry of living
Maya Angelou’s I know Why the Caged Bird Sings
Maya Angelou’s I know Why the Caged Bird Sings: A Casebook
In this case, one can not follow the cutter table exactly to assign the cutter number, but must adapt each number accordingly to fit into the library’s arrangement of that authors works.
Though specific rules exist for the creation of cutter numbers, catalogers are given the freedom to manipulate, to a certain degree, the cutter numbers to suit their particular libraries needs. For this reason, not all Cutter Numbers are going to be the same in every library. For example, the Connecticut State University Library System is comprised of four libraries. In those four libraries, it is very likely that each individual cataloger had a different concept on how to augment the numbers, which means there is no real pattern to follow in analyzing exactly how the call numbers were reasoned. It was therefore interesting to compare the various contrasting call numbers, to see how others interpreted the creation of cutter numbers.
Because of these inconsistencies with assigning second cutter numbers using the P-PZ Language and Literature Tables, one must be careful when copy cataloging. One must take into consideration the following, and review all call numbers in order to verify:
1. The uniqueness of the cutter numbers
2. The proper fit of the alphabetical order
3. The application to local practice.
The one major downfall to this system is the location of books that are criticisms on a particular work by the author. As translations of the work are included in the section with the original work, one would assume those criticisms would be in the same section as the original work that is being criticized, rather than at the end of the that authors section in “General Works”. As for criticisms on a number of the authors works, it makes sense to put those “collections of criticisms” at the end of the section.
On a positive note, assigning each literary author their own call number and cutter number is an ingenious way of ensuring that most books by and about the author will be in the same area. However, it does not allow anthologies containing works by many authors to be included in each of those authors “sections”. As seen in the first few call numbers, each anthology is assigned a different call number, which takes into consideration the same structure (language, nationality, and period of writing) as one author.
Despite the few limitations, this is very workable system. It allows each individual library to adapt each call number to fit their own institutions local practices. It also ensures that each work by and about the author (with the exception of multi-author anthologies) will be in the same area. Thus, making it easier for patrons to find books by and about the author.