The Project Gutenberg EBook of Aloys, by R. A. Lafferty

This eBook is for the use of anyone anywhere in the United States and most
other parts of the world 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.  If you are not located in the United States, you'll have
to check the laws of the country where you are located before using this ebook.

Title: Aloys

Author: R. A. Lafferty

Release Date: March 29, 2016 [EBook #51596]

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK ALOYS ***

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

ALOYS

BY R. A. LAFFERTY

Illustrated by WALKER

[Transcriber's Note: This etext was produced from
Galaxy Magazine August 1961.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]

He appeared in glory and sank without
a trace. Why? How? For the first time
anywhere, here is the startling inside story.

He had flared up more brightly than anyone in memory. And then he was gone. Yet there was ironic laughter where he had been; and his ghost still walked. That was the oddest thing: to encounter his ghost.

It was like coming suddenly on Haley's Comet drinking beer at the Plugged Nickel Bar, and having it deny that it was a celestial phenomenon at all, that it had ever been beyond the sun. For he could have been the man of the century, and now it was not even known if he was alive. And if he were alive, it would be very odd if he would be hanging around places like the Plugged Nickel Bar.

This all begins with the award. But before that it begins with the man.

Professor Aloys Foulcault-Oeg was acutely embarrassed and in a state of dread.

"These I have to speak to, all these great men. Is even glory worth the price when it must be paid in such coin?"

Aloys did not have the amenities, the polish, the tact. A child of penury, he had all his life eaten bread that was part sawdust, and worn shoes that were part cardboard. He had an overcoat that had been his father's, and before that his grandfather's.

This coat was no longer handsome, its holes being stuffed and quilted with ancient rags. It was long past its years of greatness, and even when Aloys had inherited it as a young man it was in the afternoon of its life. And yet it was worth more than anything else he owned in the world.

Professor Aloys had become great in spite of—or because of?—his poverty. He had worked out his finest theory, a series of nineteen interlocked equations of cosmic shapeliness and simplicity. He had worked it out on a great piece of butchers' paper soaked with lamb's blood, and had so given it to the world.

And once it was given, it was almost as though nothing else could be added on any subject whatsoever. Any further detailing would be only footnotes to it and all the sciences no more than commentaries.

Naturally this made him famous. But the beauty of it was that it made him famous, not to the commonalty of mankind (this would have been a burden to his sensitively tuned soul), but to a small and scattered class of extremely erudite men (about a score of them in the world). Their recognition brought him almost, if not quite, complete satisfaction.

But he was not famous in his own street or his own quarter of town. And it was in this stark conglomerate of dark-souled alleys and roofs that Professor Aloys had lived all his life till just thirty-seven days ago.

When he received the announcement, award, and invitation, he quickly calculated the time. It was not very long to allow travel halfway around the world. Being locked out of his rooms, as he often was, he was unencumbered by baggage or furniture, and he left for the ceremony at once.

With the announcement, award, and invitation, there had also been a check; but as he was not overly familiar with the world of finance or with the English language in which it was written, he did not recognize it for what it was. Having used the back of it to write down a formula that had crept into his mind, he shoved the check, forgotten, into one of the pockets of his greatcoat.

For three days he rode a river boat to the port city, hidden and hungry. There he concealed himself on an ocean tramp. That he did not starve on this was due to the caprice of the low-lifers who discovered him, for they made him stay hidden in a terrible bunker and every day or two they passed in a bucket to him.

Then, several ports and many days later, he left the ship like a crippled, dirty animal. And it was in That City and on That Day. For the award was to be that evening.

"These I have to speak to, all these wonderful men who are higher than the grocers, higher than the butchers even. These men get more respect than a policeman, than a canal boat captain. They are wiser than a mayor and more honored than a merchant. They know arts more intricate than a clock-maker's and are virtuous beyond the politicians. More perspicacious than editors, more talented than actors, these are the great men of the world. And I am only Aloys, and now I am too ragged and dirty even to be Aloys any more. I no longer am a man with a name."

For he was very humble as he walked the great town where even the shop girls were dressed like princesses, and all the restaurants were so fine that only the rich people would have dared to go in them at all. Had there been poor people (and there were none) there would have been no place for them to eat.

"But it is to me they have given the prize. Not to Schellendore and not to Ottlebaum, not to Francks nor Timiryaseff, not even to Pitirim-Koss, the latchet of whose shoe I am not—but why do I say that?—he was not, after all, very bright—all of them are inadequate in some way—the only one who was ever able to get to the heart of these great things was Aloys Foulcault-Oeg, who happens to be myself. It is a strange thing that they should honor me, and yet I believe they could not have made a better choice."

So pride and fear warred in him, but it was always the pride that lost. For he had only a little bit of pride, undernourished and on quaking ground, and against it was a whole legion of fears, apprehensions, shames, dreads, embarrassments, and nightmarish bashfulnesses.

He begged a little bit when he had found a poor part of town. But even here the people were of the rich poor, not the poor as he had known them.

When he had money in his pocket, he had a meal. Then he went to Jiffy Quick While You Wait Cleaners Open Day and Night to have his clothes cleaned. He wrapped himself in dignity and a blanket while he waited. And as the daylight was coming to an end, they brought his clothes back to him.

"We have done all we could do. If we had a week or a month, we might do a little more, but not much."

Then he went out into the town, cleaner than he had been in many years, and he walked to the hall of the Commendation and Award. Here he watched all the great men arrive in private cars and taxis: Ergodic Eimer, August Angstrom, Vladimir Vor. He watched them and thought of what he would say to them, and then he realized that he had forgotten his English.

"I remember dog, that is the first word I ever learned, but what will I say to them about a dog? I remember house and horse and apple and fish. Oh, now I remember the entire language. But what if I forget it again? Would it not be an odd speech if I could only say apple and fish and house and dog? I would be shamed."

He wished he were rich and could dress in white like the street sweepers, or in black leather like the newsboy on the corner. He saw Edward Edelstein and Christopher Cronin enter and he cowered on the street and knew that he would never be able to talk to those great men.

A fine gentleman came out and walked directly to him.

"You are the great Professor Foulcault-Oeg? I would have known you anywhere. True greatness shines from you. Our city is honored tonight. Come inside and we will go to a little room apart, for I see that you will have to compose yourself first. I am Graf-Doktor Hercule Bienville-Stravroguine."

Whyever he said he was the Graf-Doktor is a mystery, because he was Willy McGilly and the other was just a name that he made up that minute.

Within, they went to a small room behind the cloak room. But here, in spite of the smooth kindness of the gracious gentleman, Aloys knew that he would never be able to compose himself. He was an epouvantail, a pugalo, a clown, a ragamuffin. He looked at the nineteen-point outline of the address he was to give. He shuddered and he gobbled like a turkey. He sniffled and he wiped his nose on his sleeve. He was terrified that the climax of his life's work should find him too craven to accept it. And he discovered that he had forgotten his English again.

"I remember bread and butter, but I don't know which one goes on top. I know pencil and pen-knife and bed, but I have entirely forgotten the word for maternal uncle. I remember plow, but what in the world will I say to all these great men about a plow? I pray that this cup may pass from me."

Then he disintegrated in one abject mass of terror. Several minutes went by.

But when he emerged from the room he was a different man entirely. Erect, alive, intense, queerly handsome, and now in formal attire, he mounted with the sure grace of a panther to the speaker's platform. Once only he glanced at the nineteen-point outline of his address. As there is no point in keeping it a secret, it was as follows: 1. Cepheid and Cerium—How Long Is a Yardstick? 2. Double Trouble—Is Ours a Binary Universe? 3. Cerebrum and Cortex—the Mathematics of Melancholia. 4. Microphysics and Megacyclic Polyneums. 5. Ego, No, Hemeis—the Personality of the Subconscious. 6. Linear Convexity and Lateral Intransigence. 7. Betelgeuse Betrayed—the Myth of Magnitude. 8. Mu-Meson, the Secret of Metamorphosis. 9. Theogony and Tremor—the Mathematics of Seismology. 10. Planck's Constant and Agnesi's Variable. 11. Dien-cephalon and Di-Gamma—Unconscionable Thoughts about Consciousness. 12. Inverse Squares and the Quintesimal Radicals. 13. The Chain of Error in the Lineal B Translation. 14. Skepticism—the Humor of the Humorless. 15. Ogive and Volute—Thoughts on Celestial Curviture. 16. Conic Sections—Small Pieces of Infinity. 17. Eschatology—Medium Thoughts about the End. 18. Hypo-polarity and Cosmic Hysteresis. 19. The Invisible Quadratic, or This is All Simpler than You Think.

You will immediately see the beauty of this skeleton, and yet to flesh it would not be the work of an ordinary man.

He glanced over it with the sure smile of complete confidence. Then he spoke softly to the master of ceremonies in a whisper with a rumble that could be heard throughout the hall.

"I am here. I will begin. There is no need for any further introduction."

For the next three and a half hours he held that intelligent audience completely spellbound, enchanted. They followed, or seemed to follow, his lightning flashes of metaphor illumining the craggy chasms of his vasty subjects.

They thrilled to the magnetic power of his voice, urbane yet untamed, with its polyglot phrasing and its bare touch of accent so strange as to be baffling; ancient, surely, and yet from a land beyond the Pale. And they quivered with interior pleasure at the glorious unfolding in climax after climax of these before only half-glimpsed vistas.

Here was a world of mystery revealed in all its wildness, and it obeyed and stood still, and he named its name. The nebula and the conch lay down together, and the ultra-galaxies equated themselves with the zeta mesons. Like a rich householder, he brought from his store treasures old and new, and nothing like them had ever been seen or heard before.

At one point Professor Timiryaseff cried out in bafflement and incomprehension, and Doctor Ergodic Eimer buried his face in his hands, for even these most erudite men could not glimpse all the shattering profundity revealed by the fantastic speaker.

And when it was over they were limp and delighted that so much had been made known to them. They had the crown without the cross, and the odd little genius had filled them with a rich glow.

The rest was perfunctory, commendations and testimonials from all the great men. The trophy, heavy and rich but not flashy, worth the lifetime salary of a professor of mathematics, was accepted almost carelessly. And then the cup was passed quietly, which is to say the tall cool glasses went around as the men still lingered and talked with hushed pleasure.

"Gin," said the astonishing orator. "It is the drink of bums and impoverished scholars, and I am both. Yes, anything at all with it."

Then he spoke to Maecenas, who was at his side, the patron who was footing the bill for all this gracious extravagance.

"The check I have never cashed, having been much in movement since I have received it. And as to me it is a large amount, though perhaps not to others, and as you yourself have signed it, I wonder if you could cash it for me now."

"At once," said Maecenas, "at once. Ten minutes and we shall have the sum here. Ah, you have endorsed it with a formula! Who but Professor Aloys Foulcault-Oeg could be so droll? Look, he has endorsed it with a formula!"

"Look, look! Let us copy! Why, this is marvelous! It takes us even beyond his great speech of tonight. The implications of it!"

"Oh, the implications!" they said as they copied it off, and the implications rang in their heads like bells of the future.

Now it had suddenly become very late, and the elated little man with the gold and gemmed trophy under one arm and the packet of bank notes in his pocket disappeared as by magic.

Professor Aloys Foulcault-Oeg was not seen again; or, if seen, he was not known, for hardly anyone would have known his face. In fact, when he had painfully released the bonds by which he had been tied in the little room behind the cloak room, and removed the shackles from his ankles, he did not pause at all, but slipped into his greatcoat and ran out into the night. Not for many blocks did he even remove the gag from his mouth, not realizing in his confusion what it was that obstructed his speech and breathing. But when he got it out, it was a pleasant relief.

A kind gentleman took him in hand, the second to do so that night. He was bundled into a kind of taxi and driven to a mysterious quarter called Wreckville. And deep inside a secret building he was given a bath and a bowl of hot soup. And later he gathered with others at a festive board.

Here Willy McGilly was king. As he worked his way into his cups with the gold trophy in front of him, he expounded and elucidated.

"I was wonderful. I held them in the palm of my hand. Was I not wonderful, Oeg?"

"I could not hear all, for I was on the floor of the little room. But from what I could hear, yes, you were wonderful."

"Only once in my life did I give a better speech. It was the same speech, but it was newer then. This was in Little Dogie, New Mexico, and I was selling a snake-oil derivative whose secret I still cannot reveal. But I was good tonight and some of them cried. And now what will you do, Oeg? Do you know what we are?"

"Moshennekov."

"Why, so we are."

"Schwindlern."

"The very word."

"Low-life con men. And the world you live on is not the one you were born on. I will join you if I may."

"Oeg, you have a talent for going to the core of the apple."

For when a man (however unlikely a man) shows real talent, then the Wreckville bunch has to recruit him. They cannot have uncontrolled talent running loose in the commonalty of mankind.

End of the Project Gutenberg EBook of Aloys, by R. A. Lafferty

*** END OF THIS PROJECT GUTENBERG EBOOK ALOYS ***

***** This file should be named 51596-h.htm or 51596-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/5/1/5/9/51596/

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 print editions not protected by U.S. copyright
law 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 in the United States with eBooks
not protected by U.S. copyright law. 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 unprotected by copyright law 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 in the United States and
  most other parts of the world 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. If you are not located in the
  United States, you'll have to check the laws of the country where you
  are located before using this ebook.

1.E.2. If an individual Project Gutenberg-tm electronic work is
derived from texts not protected by U.S. copyright law (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 The
Project Gutenberg Trademark LLC, 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
works not protected by U.S. copyright law 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 in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, 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 not protected by copyright 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.