The Project Gutenberg EBook of A Traveler in Time, by August Derleth

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.org

Title: A Traveler in Time

Author: August Derleth

Release Date: October 6, 2012 [EBook #40953]

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK A TRAVELER IN TIME ***

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

A TRAVELER IN TIME

by August Derleth

[Transcriber's Note: This etext was produced from Orbit volume 1 number 2, 1953. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]

YOU CAN'T ALWAYS ESCAPE EVILS BY RUNNING AWAY FROM THEM...BUT IT MAY HELP!

"Tell me what time is," said Harrigan one late summer afternoon in a Madison Street bar. "I'd like to know."

"A dimension," I answered. "Everybody knows that."

"All right, granted. I know space is a dimension and you can move forward or back in space. And, of course, you keep on aging all the time."

"Elementary," I said.

"But what happens if you can move backward or forward in time? Do you age or get younger, or do you keep the status quo?"

"I'm not an authority on time, Tex. Do you know anyone who traveled in time?"

Harrigan shrugged aside my question. "That was the thing I couldn't get out of Vanderkamp, either. He presumed to know everything else."

"Vanderkamp?"

"He was another of those strange people a reporter always runs into. Lived in New York—downtown, near the Bowery. Man of about forty, I'd say, but a little on the old-fashioned side. Dutch background, and hipped on the subject of New Amsterdam, which, in case you don't know, was the original name of New York City."

"Don't mind my interrupting," I cut in. "But I'm not quite straight on what Vanderkamp has to do with time as dimension."

"Oh, he was touched on the subject. He claimed to travel in it. The fact is, he invented a time-traveling machine."

"You certainly meet the whacks, Tex!"

"Don't I!" He grinned appreciatively and leaned reminiscently over the bar. "But Vanderkamp had the wildest dreams of the lot. And in the end he managed the neatest conjuring trick of them all. I was on the Brooklyn Enterprise at that time; I spent about a year there. Special features, though I was on a reporter's salary. Vanderkamp was something of a local celebrity in a minor way; he wrote articles on the early Dutch in New York, the nomenclature of the Dutch, the history of Dutch place-names, and the like. He was handy with a pen, and even handier with tools. He was an amateur electrician, carpenter, house-painter, and claimed to be an expert in genealogy."

"And he built a time-traveling machine?"

"So he said. He gave me a rather hard time of it. He was a glib talker and half the time I didn't know whether I was coming or going. He kept me on my toes by taking for granted that I accepted his basic premises. I got next to him on a tip. He could be close-mouthed as a clam, but his sister let things slip from time to time, and on this occasion she passed the word to one of her friends in a grocery store that her brother had invented a machine that took him off on trips into the past. It seemed like routine whack stuff, but Blake, who decided what went into the Enterprise and what didn't, sent me over to Manhattan to get something for the paper, on the theory that since Vanderkamp was well-known in Brooklyn, it was good neighborhood copy.

"Vanderkamp was a sharp-eyed little fellow, about five feet or so in height, and I hit him at a good time. His sister said he had just come back from a trip—she left me to draw my own conclusions about what kind of trip—and I found him in a mild fit of temper. He was too upset, in fact, to be truculent, which was more like his nature.

"Was it true, I wanted to know, that he'd invented a machine that traveled in time?

"He didn't make any bones about it. 'Certainly,' he said. 'I've been using it for the last month, and if my sister hadn't decided to blab nobody would know about it yet. What about it?'

"'You believe it can take you backwards or forwards into the past or the future?'

"'Do I look crazy? I said so, didn't I?'

"Now, as a matter of fact, he did look crazy. Unlike most of the candidates for my file of queer people, Vanderkamp actually looked like a nut. He had a wild eye and a constantly working mouth; he blinked a good deal and stammered when he was excited. In features he was as Dutch as his name implied. Well, we talked back and forth for some time, but I stuck with him and in the end he took me out into a shed adjoining his house and showed me the contraption he'd built.

"It looked like a top. The first thing I thought of was Brick Bradford, and before I could catch myself, I'd asked, 'Is that pure Brick Bradford?'

"He didn't turn a hair. 'Not by a long shot,' he answered. 'H. G. Wells was there first. I owe it to Wells.'

"'I see,' I said.

"'The hell you do!' he shot back. 'You think I'm as nutty as a fruit-cake.'

"'The idea of time travel is a little hard to swallow,' I said.

"'Sure it is. But me, I'm doing it. So that's all there is to it.'

"'If you don't mind, Mr. Vanderkamp,' I said, 'I'm a dummy in scientific matters. I have all I can do to tell a nut from a bolt.'

"'That I believe,' he said.

"'So how do you time travel?'

"'Look,' he said, 'time is a dimension like space. You can go up or down this ruler,' he snatched a steel ruler and waved it in front of me, 'from any given point. But you move. In the dimension of time, you only seem to move. You stand still; time moves. Do you get it?'

"I had to confess that I didn't.

"He tried again, with obviously strained patience. Judging by what I could gather from what he said, it was possible for him—so he believed—to get into his machine, twirl a few knobs, push a few buttons, relax for any given period, and end up just where he liked—back in the past, or ahead in the future. But wherever he ended up, he was still in this same spot. In other words, whether he was back in 1492 or ahead in 2092, the place he got out of his time machine was still his present address.

"It was beyond me, frankly, but I figured that as long as he was a little touched, it wouldn't do any harm to humor him. I intimated that I understood and asked him where he'd been last.

"His face fell, his brow clouded, and he said, 'I've been ahead thirty years.' He shook his head angrily. 'What a time! I'll be seventy, and you won't even be that, Mr. Harrigan. But we'll be in the middle of the worst atomic war you ever dreamed about.'

"Now this was before Hiroshima, quite a bit. I didn't know what he was talking about, but it gives me a queer feeling now and then when I think of what he said, especially since it's still short of thirty years since that time.

"'It's no time to be living here,' he went on. 'Direct hits on the entire area. What would you do?'

"'I'd get out,' I said.

"'That's what I thought,' he said. 'But that kind of warfare carries a long way. A long way. And I'm a man who loves his comforts, reasonably. I don't intend to set up housekeeping in equatorial Africa or the forests of Brazil.'

"'What did you see thirty years from now, Mr. Vanderkamp?' I asked him.

"'Everything blown to hell,' he answered. 'Not a building in all Manhattan.' He leered and added, 'And everybody who'll be living here at that time will be scattered into the atmosphere in fragments no bigger than an amoeba.'

"'You fill me with anticipation,' I said.

"So I went back to my desk and wrote the story. You could guess what kind it had to be. 'Time Travel Is Possible, Says Amateur Scientist!'—that kind of thing. You can see it every week, in large doses, in the feature sections of some of the biggest chain papers. It went over like an average feature about life on the moon or prehistoric animals surviving in remote mountain valleys, or what have you. Just what Vanderkamp went back to after I left, I don't know, but I have an idea that he gave his sister a devil of a time."

Vanderkamp stalked into the house and confronted his sister.

"You see, Julie—a reporter. Can't you learn to hold your tongue?"

She threw him a scornful glance. "What difference does it make?" she cried. "You're gone all the time."

"Maybe I'll take you along sometime. Just wait."

"Wait, wait! That's all I've been doing. Since I was ten years old I've been waiting on you!"

"Oh, the hell with it!" He turned on his heel and left the house.

She followed him to the door and shouted after him, "Where are you going now?"

"To New Amsterdam for a little peace and quiet," he said testily.

He threw open the thick-walled door of his time-machine and pulled it shut behind him. He sat down before the controls and began to chart his course for 1650. If his calculations were correct, he would shortly find himself in the vicinity of that sturdy if autocratic first citizen of the Dutch colony of New Amsterdam, Peter Stuyvesant, as well as Governor Stuyvesant's friend and neighbor, Heinrich Vanderkamp. He gave not even a figurative glance over his shoulder before he started out.

When he emerged at last from his machine, he was in what appeared to be the backyard of a modest residence on a street which, though he did not know it, he suspected might be the Bouwerie. At the moment of his emergence, a tall, angular woman stood viewing him, open-mouthed and aghast, from the wooden stoop at the back door of her home. He looked at her in astonishment himself. The resemblance to his sister Julie was uncanny.

With only the slightest hesitation, he addressed her in fluent Dutch. "Pray do not be disturbed, young lady."

"A fine way for a gentleman to call!" she exclaimed in a voice considerably more forceful than her appearance. "I suppose my father sent you. And where did you get that outlandish costume?"

"I bought it," he answered, truthfully enough.

"A likely tale," she said. "And if my father sent you, just go back and tell him I'm satisfied the way I am. No woman needs a man to manage her."

"I don't have the honor of your father's acquaintance," he answered.

She gazed at him suspiciously from narrowed eyes. "Everyone in New Amsterdam knows Henrik Van Tromp. He's as unloved as yonder bumblebee. Stand where you are and say whence you came."

"I am a visitor in New Amsterdam," he said, standing obediently still. "I confess I don't know my way about very well, and I chose to stop at this attractive home."

"I know it's attractive," she said tartly. "And it's plain to see you're a stranger here, or you'd never be wearing such clothes. Or is it the fashion where you come from?" She gave him no opportunity to answer, but added, after a moment of indecision, "Well, you look respectable enough, though much like my rascally cousin Pieter Vanderkamp. Do you know him?"

"No."

"Well, no matter. He's much older than you—near forty blessed years. You're no more than twenty, I don't doubt."

Involuntarily Vanderkamp put his hand to his cheek, and smiled as he felt its smooth roundness. "You may be right, at that," he said cryptically.

"You might as well come in," she said grudgingly. "What with the traffic on the road outside, the Indians, and people who come in such flighty vehicles as yours, I might as well live in the heart of the colony."

He looked around. "And still," he said, "it is a pleasant spot—peaceful, comfortable. I'm sure a man could live out his days here in contentment."

"Oh, could he?" she said belligerently. "And where would I be while this went on?"

He gazed at her beetling nose, her jutting chin. "A good question," he muttered thoughtfully.

He followed her into the house. It was a treasury of antiquities, filling him with delight. Miss Anna Van Tromp offered him a cup of milk, which he accepted, thanking her profusely. She talked volubly, eyeing him all the while with the utmost curiosity, and he gathered presently that her father had made several attempts to marry her off, disapproving of her solitary residence so far from the center of the city; but she had frowned upon one and all of the suitors he had encouraged to call on her. She was undeniably impressive, almost formidable, he conceded privately, with a touch of the shrew and harridan. Life with Miss Anna Van Tromp would not be easy, he reflected. But then, life with his sister Julie was not easy, either. Miss Anna, however, had not to face atomic warfare; all she had to look forward to in fourteen years was surrender to the besieging British, which she would have no trouble in surviving.

He settled down to his ingratiating best and succeeded in making a most favorable impression on Miss Anna Van Tromp before at last he took his leave, carrying with him a fine, hand-wrought bowl with which the lady had presented him. He had a hunch he might come back. Of all the times he had visited since finishing the machine, he knew that old New Amsterdam in the 1650s was the one period most likely to keep him contented—provided Miss Van Tromp didn't turn out to be a nuisance. So he took careful note of the set of his controls, jotting them down so that he would not be likely to forget them.

It was late when he found himself back in his own time.

His sister was waiting up for him. "Two o'clock in the morning!" she screamed at him. "What are you doing to me? Oh, God, why didn't I marry when I had the chance, instead of throwing away my life on a worthless brother!"

"Why don't you? It's not too late," he sighed wearily.

"How can you say that?" she snapped bitterly. "Here I am thirty nearly, and worn out from working for you. Who would marry me now? Oh, if only I could have another chance! If I could be young again, and do it all over, I'd know how to have a better life!"

In spite of his boredom with her, Vanderkamp felt the effect of this cry from a lonely heart. He looked at her pityingly; it was true, after all, that she had worked faithfully for him, without pay, since their parents died. "Take a look at this," he said gently, offering her the bowl.

"Hah! Can we eat bowls?"

He raised his eyes heavenward and went wearily to bed.

"I saw Vanderkamp again about a fortnight later," Harrigan went on. "Ran into him in a tavern on the Bowery. He recognized me and came over.

"'That was some story you did,' he said.

"'Been bothered by cranks?' I asked.

"'Hell, yes! Not too badly, though. They want to ride off somewhere just to get away. I get that feeling myself sometimes. But, tell me, have you seen the morning papers?'

"Now, by coincidence, the papers that morning had carried a story from some local nuclear physicist about the increasing probability that the atom would be smashed. I told him I'd seen it.

"'What did I tell you?' he said.

"I just smiled and asked where he'd been lately. He didn't hesitate to talk, perhaps because his sister had been giving him a hard time with her nagging. So I listened. It appeared, to hear him tell it, that he had been off visiting the Dutch in New Amsterdam. You could almost believe what he said, listening to him, except for that wild look he had. Anyway, he'd been in New Amsterdam about 1650, and he'd brought back a few trifling souvenirs of the trips. Would I like to see them? I said I would.

"I figured he'd got his hands on some nice antiques and wanted an appreciative audience. His sister wasn't home; so he took me around and showed me his pieces, one by one—a bowl, a pair of wooden candlesticks, wooden shoes, and more, all in all a fine collection. He even had a chair that looked pretty authentic, and I wondered where he'd dug up so many nice things of the New Amsterdam period—though, of course, I had to take his word as to where they belonged historically; I didn't know. But I imagine he got them somewhere in the city or perhaps up in the Catskill country.

"Well, after a while I got another look at his contraption. It didn't appear to have been moved at all; it was still sitting where it had been before, without a sign to say that it had been used to go anywhere, least of all into past time.

"'Tell me,' I said to him at last, 'when you go back in time do you get younger?'

"'Yes and no,' he said. 'Obviously.'

"It wasn't obvious to me, but I couldn't get any more than that out of him. The thing I couldn't figure out was the reason for his claim. He wasn't trying to sell anything to anybody, as far as I could see; he wasn't anxious to tell the world about his time-machine, either. He didn't mind talking in his oblique fashion about his trips. He did talk about New Amsterdam as if he had a pretty good acquaintance with the place. But then, he was known as a minor authority on the customs of the Dutch colony.

"He was touched, obviously. Just the same, he challenged me, in a way. I wanted to know something more about him, how his machine worked, how he took off, and so on. I made up my mind the next time I was in the neighborhood to look him up, hoping he wouldn't be home.

"When I made it, his sister was alone, and in fine fettle, as cantankerous as a flea-bitten mastiff.

"'He's gone again,' she complained bitterly.

"Clearly the two of them were at odds. I asked her whether she had seen him go. She hadn't; he had just marched out to his shop and that was an end to him as far as she was concerned.

"I haggled around quite a lot and finally got her permission to go out and see what I could see for myself. Of course, the shop was locked. I had counted on that and had brought along a handy little skeleton key. I was inside in no time. The machine wasn't there. Not a sign of it, or of Vanderkamp either.

"Now, I looked around all over, but I couldn't for the life of me figure out how he could have taken it out of that place; it was too big for doors or windows, and the walls and roof were solid and immovable. I figured that he couldn't have got such a large machine away without his sister's seeing him; so I locked the place up and went back to the house.

"But she was immovable; she hadn't seen a thing. If he had taken anything larger than pocket-size out of that shop of his, she had missed it. I could hardly doubt her sincerity. There was nothing to be had from that source; so I had no alternative but to wait for him another time."

Anna Van Tromp, considerably chastened, watched her strange suitor—she looked upon all men as suitors, without exception; for so her father had conditioned her to do—as he reached into his sack and brought out another wonder.

"Now this," said Vanderkamp, "is an alarm clock. You wind it up like this, you see; set it, and off it goes. Listen to it ring! That will wake you up in the morning."

"More magic," she cried doubtfully.

"No, no," he explained patiently. "It is an everyday thing in my country. Perhaps some day you would like to join me in a little visit there, Anna?"

"Ja, maybe," she agreed, looking out the window to his weird and frightening carriage, which had no animal to draw it and which vanished so strangely, fading away into the air, whenever Vanderkamp went into it. "This clothes-washing machine you talk about," she admitted. "This I would like to see."

"I must go now," said Vanderkamp, gazing at her with well-simulated coyness. "I'll leave these things here with you, and I'll just take along that bench over there."

"Ja, ja," said Anna, blushing.

"Six of one and half a dozen of the other," muttered Vanderkamp, comparing Anna with his sister.

He got into his time-machine and set out for home in the twentieth century. There was some reluctance in his going. Here all was somnolent peace and quiet, despite the rigors of living; in his own time there were wars and turmoil and the ultimate threat of the greatest war of all. New Amsterdam had one drawback, however—the presence of Anna Von Tromp. She had grown fond of him, undeniably, perhaps because he was so much more interested in her circumstances than in herself. What was a man to do? Julie at one end, Anna at the other. But even getting rid of Julie would not allow him to escape the warfare to come.

He thought deeply of his problem all the way home.

When he got back, he found his sister waiting up, as usual, ready to deliver the customary diatribe.

He forestalled her. "I've been thinking things over, Julie. I believe you'd be much happier if you were living with brother Carl. I'll give you as much money as you need, and you can pack your things and I'll take you down to Louisiana."

"Take me!" she exclaimed. "How? In that crazy contraption of yours?"

"Precisely."

"Oh no!" she said. "You don't get me into that machine! How do I know what it will do to me? It's a time machine, isn't it? It might make an old hag of me—or a baby!"

"You said that you wanted to be young again, didn't you?" he said softly. "You said you'd like another chance...."

A faraway look came into her eyes. "Oh, if I only could! If I only could be a girl again, with a chance to get married...."

"Pack your things," Vanderkamp said quietly.

"It must have been all of a month before I saw Vanderkamp again," Harrigan continued, waving for another scotch and soda. "I was down in the vicinity on an assignment and I took a run over to his place.

"He was home this time. He came to the door, which he had chained on the inside. He recognized me, and it was plain at the same time that he had no intention of letting me in.

"I came right out with the first question I had in mind. 'The thing that bothers me,' I said to him, 'is how you get that time machine of yours in and out of that shed.'

"'Mr. Harrigan,' he answered, 'newspaper reporters ought to have at least elementary scientific knowledge. You don't. How in hell could even a time machine be in two places at once, I ask you? If I take that machine back three centuries, that's where it is—not here. And three centuries ago that shop wasn't standing there. So you don't go in or out; you don't move at all, remember? It's time that moves.'

"'I called the other day,' I went on. 'Your sister spoke to me. Give her my regards.'

"'My sister's left me,' he said shortly, 'to stew, as you might say, in my own time machine.'

"'Really?' I said. 'Just what do you have in mind to do next?'

"'Let me ask you something, Mr. Harrigan,' he answered. 'Would you sit around here waiting for an atomic war if you could get away?'

"'Certainly not,' I answered.

"'Well, then, I don't intend to, either.'

"All this while he was standing at the door, refusing to open it any wider or to let me in. He was making it pretty plain that there wasn't much he had to say to me. And he seemed to be in a hurry.

"'Remember me to the inquiring public thirty years hence, Mr. Harrigan,' he said at last, and closed the door.

"That was the last I saw of him."

Harrigan finished his scotch and soda appreciatively and looked around for the bartender.

"Did he take off then?" I asked.

"Like a rocket," said Harrigan. "Queerest thing was that there wasn't a trace of him. The machine was gone, too—the same way as the last time, without a disturbance in the shop. He and his machine had simply vanished off the face of the earth and were never heard from again.

"Matter of fact, though," Harrigan went on thoughtfully, "Vanderkamp's disappearance wasn't the really queer angle on the pitch. The other thing broke in the papers the week after he left. The neighbors got pretty worked up about it. They called the police to tell them that Vanderkamp's sister Julie was back, only she was off her nut—and a good deal changed in appearance, too.

"Gal going blarmy was no news, of course, but that last bit about her appearance—they said she looked about twenty years older, all of a sudden—sort of rang a bell. So I went over there. It was Julie, all right; at least, she looked a hell of a lot like Julie had when I last saw her—provided you could grant that a woman could age twenty years in the few weeks it had been. And she was off her rocker, sure enough—or hysterical. Or at least madder than a wet hen. She made out like she couldn't speak a word of English, and they finally had to get an interpreter to understand her. She wouldn't speak anything but Dutch—and an old-fashioned kind, too.

"She made a lot of extravagant claims and kept insisting that she would bring the whole matter up in a complaint before Governor Stuyvesant. Said she wasn't Julie Vanderkamp, by God, but was named Anna Van Tromp—which is an old Dutch name thereabouts—and claimed that she had been abducted from her home on the Bowery. We pointed out the Third Avenue El and told her that was the Bowery, but she just sniffed and looked at us as though we were crazy."

I toyed with my drink. "You mean you actually listened to the poor girl's story?" I asked.

"Sure," Harrigan said. "Maybe she was as crazy as a bedbug, but I've listened to whackier stories from supposedly sane people. Sure, I listened to her." He paused thoughtfully for a moment, then went on.

"She claimed that this fellow Vanderkamp had come to her house and filled her with a lot of guff about the wonderful country he lived in, and how she ought to let him take her to see it. Apparently he waxed especially eloquent about an automatic washing-machine and dryer, and that had fascinated her, for some reason. Then, she said, he'd brought a ten-year-old girl along—though where in the world old Vanderkamp could have picked up a tot like that is beyond me—and the kid had added her blandishments to the plot. Between them, they had managed to lure her into the old guy's machine. From what she said, it was obviously the time machine she was talking about, and if she was Julie there was no reason why she shouldn't know about it. But she talked as though it was a complete mystery to her, as though she'd no idea what the purpose of it was. Well, anyway, here she was—and very unhappy, too. Wanted to go back to old New Amsterdam, but bad.

"It was a beautiful act, even if she was nuts. The strange thing was, though, that there were some things even a gal going whacky couldn't explain. For instance, the house was filled with what the experts said were priceless antiques from Dutch New Amsterdam, of the period just prior to the British siege. You'd think those things would make poor Julie feel more at home, seeing as she claimed to belong in that period, but apparently they just made her homesick. And, curiously enough, all the modern gadgets were gone. All those handy little items that make the twentieth century so livable had been taken away—including the washing-machine and dryer, by the way. Julie—or Anna, as she called herself—claimed that Vanderkamp had taken it back with him, wherever he'd gone to, after he'd brought her there."

"Poor woman," I said sympathetically. "They toted her off to the booby hatch, I suppose."

"No...." Harrigan said slowly. "They didn't, as a matter of fact. Since she was harmless, they let her stay in the house a while. Which was a mistake, it seems. Of course, she wasn't from the seventeenth century. That's impossible. All the same—." He broke off abruptly and stared moodily into his glass.

"What happened to her?" I asked.

"She was found one morning about two weeks after she got there," he said. "Dead. Electrocuted. It seems she'd stuck her finger into a light socket while standing in a bathtub full of water. An accident, obviously. As the Medical Examiner said, it was an accident any six-year-old child would have known enough about electricity to avoid.

"That is," Harrigan added, "a twentieth-century child...."

End of the Project Gutenberg EBook of A Traveler in Time, by August Derleth

*** END OF THIS PROJECT GUTENBERG EBOOK A TRAVELER IN TIME ***

***** This file should be named 40953-h.htm or 40953-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/4/0/9/5/40953/

Produced by Greg Weeks, Mary Meehan 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
  www.gutenberg.org/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.org

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.org),
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 1.F.3.  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 MERCHANTABILITY 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 information page at www.gutenberg.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.  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
contact links and up to date contact information can be found at the
Foundation's web site and official page at www.gutenberg.org/contact

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 www.gutenberg.org/donate

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 checks, online payments and credit card donations.
To donate, please visit:  www.gutenberg.org/donate

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

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For forty 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:

     www.gutenberg.org

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.