The Project Gutenberg EBook of Dreamworld, 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: Dreamworld

Author: R. A. Lafferty

Release Date: April 6, 2016 [EBook #51668]

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK DREAMWORLD ***

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

DREAM WORLD

By R. A. LAFFERTY

Illustrated by GAUGHAN

[Transcriber's Note: This etext was produced from
Galaxy Magazine June 1962.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]

It was the awfullest dream in the
world, no doubt about it. In fact, it
seemed to be the only dream there was!

He was a morning type, so it was unusual that he should feel depressed in the morning. He tried to account for it, and could not.

He was a healthy man, so he ate a healthy breakfast. He was not too depressed for that. And he listened unconsciously to the dark girl with the musical voice. Often she ate at Cahill's in the mornings with her girl friend.

Grape juice, pineapple juice, orange juice, apple juice ... why did people look at him suspiciously just because he took four or five sorts of juice for breakfast?

"Agnes, it was ghastly. I was built like a sack. A sackful of skunk cabbage, I swear. And I was a green-brown color and had hair like a latrine mop. Agnes, I was sick with misery. It just isn't possible for anybody to feel so low. I can't shake it at all. And the whole world was like the underside of a log. It wasn't that, though. It wasn't just one bunch of things. It was everything. It was a world where things just weren't worth living. I can't come out of it...."

"Teresa, it was only a dream."

Sausage, only four little links for an order. Did people think he was a glutton because he had four orders of sausage? It didn't seem like very much.

"My mother was a monster. She was a wart-hoggish animal. And yet she was still recognizable. How could my mother look like a wart-hog and still look like my mother? Mama's pretty!"

"Teresa, it was only a dream. Forget it."

The stares a man must suffer just to get a dozen pancakes on his plate! What was the matter with people who called four pancakes a tall stack? And what was odd about ordering a quarter of a pound of butter? It was better than having twenty of those little pats each on its coaster.

"Agnes, we all of us had eyes that bugged out. And we stank! We were bloated, and all the time it rained a dirty green rain that smelled like a four letter word. Good grief, girl! We had hair all over us where we weren't warts. And we talked like cracked crows. We had crawlers. I itch just from thinking about it. And the dirty parts of the dream I won't even tell you. I've never felt so blue in my life. I just don't know how I'll make the day through."

"Teresa, doll, how could a dream upset you so much?"

There isn't a thing wrong with ordering three eggs sunny-side up, and three over easy, and three poached ever so soft, and six of them scrambled. What law says a man should have all of his eggs fixed alike? Nor is there anything wrong with ordering five cups of coffee. That way the girl doesn't have to keep running over with refills.

Bascomb Swicegood liked to have bacon and waffles after the egg interlude and the earlier courses. But he was nearly at the end of his breakfast when he jumped up.

"What did she say?"

He was surprised at the violence of his own voice.

"What did who say, Mr. Swicegood?"

"The girl that was just here, that just left with the other girl."

"That was Teresa, and the other girl was Agnes. Or else that was Agnes and the other girl was Teresa. It depends on which girl you mean. I don't know what either of them said."

Bascomb ran out into the street.

"Girl, the girl who said it rained dirty green all the time, what's your name?"

"My name is Teresa. You've met me four times. Every morning you look like you never saw me before."

"I'm Agnes," said Agnes.

"What did you mean it rained dirty green all the time? Tell me all about it."

"I will not, Mr. Swicegood. I was just telling a dream I had to Agnes. It isn't any of your business."

"Well, I have to hear all of it. Tell me everything you dreamed."

"I will not. It was a dirty dream. It isn't any of your business. If you weren't a friend of my Uncle Ed Kelly, I'd call a policeman for your bothering me."

"Did you have things like live rats in your stomach to digest for you? Did they—"

"Oh! How did you know? Get away from me. I will call a policeman. Mr. McCarty, this man is annoying me."

"The devil he is, Miss Ananias. Old Bascomb just doesn't have it in him any more. There's no more harm in him than a lamp post."

"Did the lamp posts have hair on them, Miss Teresa? Did they pant and swell and smell green—"

"Oh! You couldn't know! You awful man!"

"I'm Agnes," said Agnes; but Teresa dragged Agnes away with her.

"What is the lamp-post jag, Bascomb?" asked Officer Mossback McCarty.

"Ah—I know what it is like to be in hell, Mossback. I dreamed of it last night."

"And well you should, a man who neglects his Easter duty year after year. But the lamp-post jag? If it concerns anything on my beat, I have to know about it."

"It seems that I had the same depressing dream as the young lady, identical in every detail."

Not knowing what dreams are (and we do not know) we should not find it strange that two people might have the same dream. There may not be enough of them to go around, and most dreams are forgotten in the morning.

Bascomb Swicegood had forgotten his dismal dream. He could not account for his state of depression until he heard Teresa Ananias telling pieces of her own dream to Agnes Schoenapfel. Even then it came back to him slowly at first, but afterwards with a rush.

The oddity wasn't that two people should have the same dream, but that they should discover the coincidence, what with the thousands of people running around and most of the dreams forgotten.

Yet, if it were a coincidence, it was a multiplex one. On the night when it was first made manifest it must have been dreamed by quite a number of people in one medium-large city. There was a small piece in an afternoon paper. One doctor had five different worried patients who had had dreams of rats in their stomachs, and hair growing on the insides of their mouths. This was the first publication of the shared-dream phenomenon.

The squib did not mention the foul-green-rain background, but later investigation uncovered that this and other details were common to the dreams.

But it was a reporter named Willy Wagoner who really put the town on the map. Until he did the job, the incidents and notices had been isolated. Doctor Herome Judas had been putting together some notes on the Green-Rain Syndrome. Doctor Florenz Appian had been working up his evidence on the Surex Ventriculus Trauma, and Professor Gideon Greathouse had come to some learned conclusions on the inner meaning of warts. But it was Willy Wagoner who went to the people for it, and then gave his conclusions back to the people.

Willy said that he had interviewed a thousand people at random. (He hadn't really; he had talked to about twenty. It takes longer than you might think to interview a thousand people.) He reported that slightly more than sixty-seven per cent had had a dream of the same repulsive world. He reported that more than forty-four per cent had had the dream more than once, thirty-two per cent more than twice, twenty-seven per cent more than three times. Many had had it every damned night. And many refused frostily to answer questions on the subject at all.

This was ten days after Bascomb Swicegood had heard Teresa Ananias tell her dream to Agnes.

Willy published the opinions of the three learned gentlemen above, and the theories and comments of many more. He also appended a hatful of answers he had received that were sheer levity.

But the phenomenon was not local. Wagoner's article was the first comprehensive (or at least wordy) treatment of it, but only by hours. Similar things were in other papers that very afternoon, and the next day.

It was more than a fad. Those who called it a fad fell silent after they themselves experienced the dream. The suicide index arose around the country and the world. The thing was now international. The cacophonous ditty Green Rain was on all the jukes, as was The Wart-Hog Song. People began to loathe themselves and each other. Women feared that they would give birth to monsters. There were new perversions committed in the name of the thing, and several orgiastic societies were formed with the stomach rat as a symbol. All entertainment was forgotten, and this was the only topic.

Nervous disorders took a fearful rise as people tried to stay awake to avoid the abomination, and as they slept in spite of themselves and suffered the degradation.

It is no joke to experience the same loathsome dream all night every night. It had actually come to that. All the people were dreaming it all night every night. It had passed from being a joke to being a universal menace. Even the sudden new millionaires who rushed their cures to the market were not happy. They also suffered whenever they slept, and they knew that their cures were not cures.

There were large amounts posted for anyone who could cure the populace of the wart-hog-people dreams. There was presidential edict and dictator decree, and military teams attacked the thing as a military problem, but they were not able to subdue it.

Then one night a nervous lady heard a voice in her noisome dream. It was one of the repulsive cracked wart-hog voices. "You are not dreaming," said the voice. "This is the real world. But when you wake you will be dreaming. That barefaced world is not a world at all. It is only a dream. This is the real world." The lady awoke howling. And she had not howled before, for she was a demure lady.

Nor was she the only one who awoke howling. There were hundreds, then thousands, then millions. The voice spoke to all and engendered a doubt. Which was the real world? Almost equal time was now spent in each, for the people had come to need more sleep and most of them had arrived at spending a full twelve hours or more in the nightmarish world.

"It could be" was the title of a headlined article on the subject by the same Professor Greathouse mentioned above. It could be, he said, that the world on which the green rain fell incessantly was the real world. It could be that the wart-hogs were real and the people a dream. It could be that rats in the stomach were normal, and other methods of digestion were chimerical.

And then a very great man went on the air in worldwide broadcast with a speech that was a ringing call for collective sanity. It was the hour of decision, he said. The decision would be made. Things were at an exact balance, and the balance would be tipped.

"But we can decide. One way or the other, we will decide. I implore you all in the name of sanity that you decide right. One world or the other will be the world of tomorrow. One of them is real and one of them is a dream. Both are with us now, and the favor can go to either. But listen to me here: whichever one wins, the other will have always been a dream, a momentary madness soon forgotten. I urge you to the sanity which in a measure I have lost myself. Yet in our darkened dilemma I feel that we yet have a choice. Choose!"

And perhaps that was the turning point.

The mad dream disappeared as suddenly as it had appeared. The world came back to normal with an embarrassed laugh. It was all over. It had lasted from its inception six weeks.

Bascomb Swicegood, a morning type, felt excellent this morning. He breakfasted at Cahill's, and he ordered heavily as always. And he listened with half an ear to the conversation of two girls at the table next to his.

"But I should know you," he said.

"Of course. I'm Teresa."

"I'm Agnes," said Agnes.

"Mr. Swicegood, how could you forget? It was when the dreams first came, and you overheard me telling mine to Agnes. Then you ran after us in the street because you had had the same dream, and I wanted to have you arrested. Weren't they horrible dreams? And have they ever found out what caused them?"

"They were horrible, and they have not found out. They ascribe it to group mania, which is meaningless. And now there are those who say that the dreams never came at all, and soon they will be nearly forgotten. But the horror of them! The loneliness!"

"Yes, we hadn't even pediculi to curry our body hair. We almost hadn't any body hair."

Teresa was an attractive girl. She had a cute trick of popping the smallest rat out of her mouth so it could see what was coming into her stomach. She was bulbous and beautiful. "Like a sackful of skunk cabbage," Bascomb murmured admiringly in his head, and then flushed green at his forwardness of phrase.

Teresa had protuberances upon protuberances and warts on warts, and hair all over her where she wasn't warts and bumps. "Like a latrine mop!" sighed Bascomb with true admiration. The cracked clang of Teresa's voice was music in the early morning.

All was right with the earth again. Gone the hideous nightmare world when people had stood barefaced and lonely, without bodily friends or dependents. Gone that ghastly world of the sick blue sky and the near-absence of entrancing odor.

Bascomb attacked manfully his plate of prime carrion. And outside the pungent green rain fell incessantly.

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

*** END OF THIS PROJECT GUTENBERG EBOOK DREAMWORLD ***

***** This file should be named 51668-h.htm or 51668-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/5/1/6/6/51668/

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.