The Project Gutenberg EBook of Year of the Big Thaw, by Marion Zimmer Bradley

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net

Title: Year of the Big Thaw

Author: Marion Zimmer Bradley

Release Date: May 1, 2009 [EBook #28650]

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK YEAR OF THE BIG THAW ***

Produced by Greg Weeks, Stephen Blundell and the Online
Distributed Proofreading Team at http://www.pgdp.net

In this warm and fanciful story of a Connecticut farmer, Marion Zimmer Bradley has caught some of the glory that is man's love for man—no matter who he is nor whence he's from. By heck, you'll like little Matt.

year
of
the
big
thaw

by ... Marion Zimmer Bradley

Mr. Emmett did his duty by the visitor from another world—never doubting the right of it.

You say that Matthew is your own son, Mr. Emmett?

Yes, Rev'rend Doane, and a better boy never stepped, if I do say it as shouldn't. I've trusted him to drive team for me since he was eleven, and you can't say more than that for a farm boy. Way back when he was a little shaver so high, when the war came on, he was bounden he was going to sail with this Admiral Farragut. You know boys that age—like runaway colts. I couldn't see no good in his being cabin boy on some tarnation Navy ship and I told him so. If he'd wanted to sail out on a whaling ship, I 'low I'd have let him go. But Marthy—that's the boy's Ma—took on so that Matt stayed home. Yes, he's a good boy and a good son.

We'll miss him a powerful lot if he gets this scholarship thing. But I 'low it'll be good for the boy to get some learnin' besides what he gets in the school here. It's right kind of you, Rev'rend, to look over this application thing for me.

Well, if he is your own son, Mr. Emmett, why did you write 'birthplace unknown' on the line here?

Rev'rend Doane, I'm glad you asked me that question. I've been turnin' it over in my mind and I've jest about come to the conclusion it wouldn't be nohow fair to hold it back. I didn't lie when I said Matt was my son, because he's been a good son to me and Marthy. But I'm not his Pa and Marthy ain't his Ma, so could be I stretched the truth jest a mite. Rev'rend Doane, it's a tarnal funny yarn but I'll walk into the meetin' house and swear to it on a stack o'Bibles as thick as a cord of wood.

You know I've been farming the old Corning place these past seven year? It's good flat Connecticut bottom-land, but it isn't like our land up in Hampshire where I was born and raised. My Pa called it the Hampshire Grants and all that was King's land when his Pa came in there and started farming at the foot of Scuttock Mountain. That's Injun for fires, folks say, because the Injuns used to build fires up there in the spring for some of their heathen doodads. Anyhow, up there in the mountains we see a tarnal power of quare things.

You call to mind the year we had the big thaw, about twelve years before the war? You mind the blizzard that year? I heard tell it spread down most to York. And at Fort Orange, the place they call Albany now, the Hudson froze right over, so they say. But those York folks do a sight of exaggerating, I'm told.

Anyhow, when the ice went out there was an almighty good thaw all over, and when the snow run off Scuttock mountain there was a good-sized hunk of farmland in our valley went under water. The crick on my farm flowed over the bank and there was a foot of water in the cowshed, and down in the swimmin' hole in the back pasture wasn't nothing but a big gully fifty foot and more across, rushing through the pasture, deep as a lake and brown as the old cow. You know freshet-floods? Full up with sticks and stones and old dead trees and somebody's old shed floatin' down the middle. And I swear to goodness, Parson, that stream was running along so fast I saw four-inch cobblestones floating and bumping along.

I tied the cow and the calf and Kate—she was our white mare; you mind she went lame last year and I had to shoot her, but she was just a young mare then and skittish as all get-out—but she was a good little mare.

Anyhow, I tied the whole kit and caboodle of them in the woodshed up behind the house, where they'd be dry, then I started to get the milkpail. Right then I heard the gosh-awfullest screech I ever heard in my life. Sounded like thunder and a freshet and a forest-fire all at once. I dropped the milkpail as I heard Marthy scream inside the house, and I run outside. Marthy was already there in the yard and she points up in the sky and yelled, "Look up yander!"

We stood looking up at the sky over Shattuck mountain where there was a great big—shoot now, I d'no as I can call its name but it was like a trail of fire in the sky, and it was makin' the dangdest racket you ever heard, Rev'rend. Looked kind of like one of them Fourth-of-July skyrockets, but it was big as a house. Marthy was screaming and she grabbed me and hollered, "Hez! Hez, what in tunket is it?" And when Marthy cusses like that, Rev'rend, she don't know what she's saying, she's so scared.

I was plumb scared myself. I heard Liza—that's our young-un, Liza Grace, that got married to the Taylor boy. I heard her crying on the stoop, and she came flying out with her pinny all black and hollered to Marthy that the pea soup was burning. Marthy let out another screech and ran for the house. That's a woman for you. So I quietened Liza down some and I went in and told Marthy it weren't no more than one of them shooting stars. Then I went and did the milking.

But you know, while we were sitting down to supper there came the most awful grinding, screeching, pounding crash I ever heard. Sounded if it were in the back pasture but the house shook as if somethin' had hit it.

Marthy jumped a mile and I never saw such a look on her face.

"Hez, what was that?" she asked.

"Shoot, now, nothing but the freshet," I told her.

But she kept on about it. "You reckon that shooting star fell in our back pasture, Hez?"

"Well, now, I don't 'low it did nothing like that," I told her. But she was jittery as an old hen and it weren't like her nohow. She said it sounded like trouble and I finally quietened her down by saying I'd saddle Kate up and go have a look. I kind of thought, though I didn't tell Marthy, that somebody's house had floated away in the freshet and run aground in our back pasture.

So I saddled up Kate and told Marthy to get some hot rum ready in case there was some poor soul run aground back there. And I rode Kate back to the back pasture.

It was mostly uphill because the top of the pasture is on high ground, and it sloped down to the crick on the other side of the rise.

Well, I reached the top of the hill and looked down. The crick were a regular river now, rushing along like Niagary. On the other side of it was a stand of timber, then the slope of Shattuck mountain. And I saw right away the long streak where all the timber had been cut out in a big scoop with roots standing up in the air and a big slide of rocks down to the water.

It was still raining a mite and the ground was sloshy and squanchy under foot. Kate scrunched her hooves and got real balky, not likin' it a bit. When we got to the top of the pasture she started to whine and whicker and stamp, and no matter how loud I whoa-ed she kept on a-stamping and I was plumb scared she'd pitch me off in the mud. Then I started to smell a funny smell, like somethin' burning. Now, don't ask me how anything could burn in all that water, because I don't know.

When we came up on the rise I saw the contraption.

Rev'rend, it was the most tarnal crazy contraption I ever saw in my life. It was bigger nor my cowshed and it was long and thin and as shiny as Marthy's old pewter pitcher her Ma brought from England. It had a pair of red rods sticking out behind and a crazy globe fitted up where the top ought to be. It was stuck in the mud, turned halfway over on the little slide of roots and rocks, and I could see what had happened, all right.

The thing must have been—now, Rev'rend, you can say what you like but that thing must have flew across Shattuck and landed on the slope in the trees, then turned over and slid down the hill. That must have been the crash we heard. The rods weren't just red, they were red-hot. I could hear them sizzle as the rain hit 'em.

In the middle of the infernal contraption there was a door, and it hung all to-other as if every hinge on it had been wrenched halfway off. As I pushed old Kate alongside it I heared somebody hollering alongside the contraption. I didn't nohow get the words but it must have been for help, because I looked down and there was a man a-flopping along in the water.

He was a big fellow and he wasn't swimming, just thrashin' and hollering. So I pulled off my coat and boots and hove in after him. The stream was running fast but he was near the edge and I managed to catch on to an old tree-root and hang on, keeping his head out of the water till I got my feet aground. Then I hauled him onto the bank. Up above me Kate was still whinnying and raising Ned and I shouted at her as I bent over the man.

Wal, Rev'rend, he sure did give me a surprise—weren't no proper man I'd ever seed before. He was wearing some kind of red clothes, real shiny and sort of stretchy and not wet from the water, like you'd expect, but dry and it felt like that silk and India-rubber stuff mixed together. And it was such a bright red that at first I didn't see the blood on it. When I did I knew he were a goner. His chest were all stove in, smashed to pieces. One of the old tree-roots must have jabbed him as the current flung him down. I thought he were dead already, but then he opened up his eyes.

A funny color they were, greeny yellow. And I swear, Rev'rend, when he opened them eyes I felt he was readin' my mind. I thought maybe he might be one of them circus fellers in their flying contraptions that hang at the bottom of a balloon.

He spoke to me in English, kind of choky and stiff, not like Joe the Portygee sailor or like those tarnal dumb Frenchies up Canady way, but—well, funny. He said, "My baby—in ship. Get—baby ..." He tried to say more but his eyes went shut and he moaned hard.

I yelped, "Godamighty!" 'Scuse me, Rev'rend, but I was so blame upset that's just what I did say, "Godamighty, man, you mean there's a baby in that there dingfol contraption?" He just moaned so after spreadin' my coat around the man a little bit I just plunged in that there river again.

Rev'rend, I heard tell once about some tomfool idiot going over Niagary in a barrel, and I tell you it was like that when I tried crossin' that freshet to reach the contraption.

I went under and down, and was whacked by floating sticks and whirled around in the freshet. But somehow, I d'no how except by the pure grace of God, I got across that raging torrent and clumb up to where the crazy dingfol machine was sitting.

Ship, he'd called it. But that were no ship, Rev'rend, it was some flying dragon kind of thing. It was a real scarey lookin' thing but I clumb up to the little door and hauled myself inside it. And, sure enough, there was other people in the cabin, only they was all dead.

There was a lady and a man and some kind of an animal looked like a bobcat only smaller, with a funny-shaped rooster-comb thing on its head. They all—even the cat-thing—was wearing those shiny, stretchy clo'es. And they all was so battered and smashed I didn't even bother to hunt for their heartbeats. I could see by a look they was dead as a doornail.

Then I heard a funny little whimper, like a kitten, and in a funny, rubber-cushioned thing there's a little boy baby, looked about six months old. He was howling lusty enough, and when I lifted him out of the cradle kind of thing, I saw why. That boy baby, he was wet, and his little arm was twisted under him. That there flying contraption must have smashed down awful hard, but that rubber hammock was so soft and cushiony all it did to him was jolt him good.

I looked around but I couldn't find anything to wrap him in. And the baby didn't have a stitch on him except a sort of spongy paper diaper, wet as sin. So I finally lifted up the lady, who had a long cape thing around her, and I took the cape off her real gentle. I knew she was dead and she wouldn't be needin' it, and that boy baby would catch his death if I took him out bare-naked like that. She was probably the baby's Ma; a right pretty woman she was but smashed up something shameful.

So anyhow, to make a long story short, I got that baby boy back across that Niagary falls somehow, and laid him down by his Pa. The man opened his eyes kind, and said in a choky voice, "Take care—baby."

I told him I would, and said I'd try to get him up to the house where Marthy could doctor him. The man told me not to bother. "I dying," he says. "We come from planet—star up there—crash here—" His voice trailed off into a language I couldn't understand, and he looked like he was praying.

I bent over him and held his head on my knees real easy, and I said, "Don't worry, mister, I'll take care of your little fellow until your folks come after him. Before God I will."

So the man closed his eyes and I said, Our Father which art in Heaven, and when I got through he was dead.

I got him up on Kate, but he was cruel heavy for all he was such a tall skinny fellow. Then I wrapped that there baby up in the cape thing and took him home and give him to Marthy. And the next day I buried the fellow in the south medder and next meetin' day we had the baby baptized Matthew Daniel Emmett, and brung him up just like our own kids. That's all.

All? Mr. Emmett, didn't you ever find out where that ship really came from?

Why, Rev'rend, he said it come from a star. Dying men don't lie, you know that. I asked the Teacher about them planets he mentioned and she says that on one of the planets—can't rightly remember the name, March or Mark or something like that—she says some big scientist feller with a telescope saw canals on that planet, and they'd hev to be pretty near as big as this-here Erie canal to see them so far off. And if they could build canals on that planet I d'no why they couldn't build a flying machine.

I went back the next day when the water was down a little, to see if I couldn't get the rest of them folks and bury them, but the flying machine had broke up and washed down the crick.

Marthy's still got the cape thing. She's a powerful saving woman. We never did tell Matt, though. Might make him feel funny to think he didn't really b'long to us.

But—but—Mr. Emmett, didn't anybody ask questions about the baby—where you got it?

Well, now, I'll 'low they was curious, because Marthy hadn't been in the family way and they knew it. But up here folks minds their own business pretty well, and I jest let them wonder. I told Liza Grace I'd found her new little brother in the back pasture, and o'course it was the truth. When Liza Grace growed up she thought it was jest one of those yarns old folks tell the little shavers.

And has Matthew ever shown any differences from the other children that you could see?

Well, Rev'rend, not so's you could notice it. He's powerful smart, but his real Pa and Ma must have been right smart too to build a flying contraption that could come so far.

O'course, when he were about twelve years old he started reading folks' minds, which didn't seem exactly right. He'd tell Marthy what I was thinkin' and things like that. He was just at the pesky age. Liza Grace and Minnie were both a-courtin' then, and he'd drive their boy friends crazy telling them what Liza Grace and Minnie were a-thinking and tease the gals by telling them what the boys were thinking about.

There weren't no harm in the boy, though, it was all teasing. But it just weren't decent, somehow. So I tuk him out behind the woodshed and give his britches a good dusting just to remind him that that kind of thing weren't polite nohow. And Rev'rend Doane, he ain't never done it sence.

Transcriber's Note: This etext was produced from Fantastic Universe May 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Minor spelling and typographical errors have been corrected without note.

End of Project Gutenberg's Year of the Big Thaw, by Marion Zimmer Bradley

*** END OF THIS PROJECT GUTENBERG EBOOK YEAR OF THE BIG THAW ***

***** This file should be named 28650-h.htm or 28650-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/8/6/5/28650/

Produced by Greg Weeks, Stephen Blundell and the Online
Distributed Proofreading Team at http://www.pgdp.net

Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.

*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.net/license).

Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.

Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.

Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations.  To donate, please visit: http://pglaf.org/donate

Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.net

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.