summaryrefslogtreecommitdiff
path: root/23547.txt
diff options
context:
space:
mode:
authorRoger Frank <rfrank@pglaf.org>2025-10-15 02:05:42 -0700
committerRoger Frank <rfrank@pglaf.org>2025-10-15 02:05:42 -0700
commit7fc311b7f36b9c6053aa173057116baf5432aa7f (patch)
tree98f7efbf00e73d94c23bdd7d291dda76da7a7b7b /23547.txt
initial commit of ebook 23547HEADmain
Diffstat (limited to '23547.txt')
-rw-r--r--23547.txt1081
1 files changed, 1081 insertions, 0 deletions
diff --git a/23547.txt b/23547.txt
new file mode 100644
index 0000000..bc20ae3
--- /dev/null
+++ b/23547.txt
@@ -0,0 +1,1081 @@
+The Project Gutenberg eBook, Sam Lambert and the New Way Store, by Unknown
+
+
+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: Sam Lambert and the New Way Store
+ A Book for Clothiers and Their Clerks
+
+
+Author: Unknown
+
+
+
+Release Date: November 19, 2007 [eBook #23547]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK SAM LAMBERT AND THE NEW WAY
+STORE***
+
+
+E-text prepared by Barbara and Bill Tozier
+
+
+
+SAM LAMBERT AND THE NEW WAY STORE
+
+A Book for Clothiers and Their Clerks
+
+
+
+
+
+
+
+Published by
+Grand Rapids Show Case Co.
+Grand Rapids: Michigan
+
+Copyright, 1912,
+Grand Rapids Show Case Co.
+Grand Rapids, Mich.
+
+
+
+
+CHAPTER I.
+
+
+Sam Lambert had the best clothing store in Medeena County--a corner
+store on the main street of Medeena opposite the Court House Square.
+
+Medeena had four clothing stores, not counting The Blue Front, down by
+the Depot, with its collection of cheap watches in the window, a
+yellow guitar, two large accordions and a fiddle with a broken E
+string.
+
+Everybody in the County knew Sam Lambert.
+
+As a merchant and a citizen he was a whole bunch of live wires. A
+big-boned, free-hearted fellow--lucky enough to just escape being run
+for sheriff, as some thought he was too good natured, the "gang" was
+afraid he was not pliant enough, and Sam didn't want to be away from
+the store.
+
+Sam took great pride in his clothing business and kept pace with the
+most advanced ideas in the trade.
+
+He was awake to the marvelous development of the ready-to-wear
+business. He carried the best and took a positive delight in each
+season's new models.
+
+He recalled the old days of "hand-me-downs," and he had lived to see
+the two best tailors in Medeena take to bushelling "ready" garments,
+with less and less of that to be done--principally changing a button
+or shortening a trouser's length.
+
+Sam was broad-gauge in everything he did. He sold his goods at the
+marked price, for cash only--got a decent profit and told you so.
+
+Why shouldn't he? He had a sense of style. He was keenly alive to the
+artistry of clothes and his enthusiasm was contagious.
+
+Sam was firmly convinced that a man has to spend money to make money
+in the clothing business.
+
+He said that a part of the value you deliver to a customer consists in
+giving him a better opinion of himself: making him feel like a king
+for a day and that the best is none too good for him.
+
+"A store," he would tell the boys, "cannot be run on the low gear. You
+must keep her keyed up. Relax when the store is empty, but when you go
+to meet a customer put on the tension--take a brace--get spring into
+your step--learn to bunch your vitality and get it across. But keep
+your energy inside.
+
+"Don't bounce and don't talk too much. Keep yourself in hand. Be quiet
+but alert.
+
+"Concentrate! For the time being there is but one person in the world
+and that is the customer, and the most interesting thing in life is
+the thing he came in to see.
+
+"You can size up your man while you are going forward to meet him. But
+by all means take him easy. Undue interest might embarrass him.
+Suppose he only wants a pair of 15c. socks; if he does, there is a
+test of your ability that you may not realize.
+
+"Many a clerk who can close a Twenty dollar transaction with tact and
+dispatch never seems able to handle a Ten cent sale so that the
+customer goes out feeling pleased with himself.
+
+"Nine men out of ten who come into the store are self-conscious. The
+thing to do is to make your man feel that his requirement is important
+simply because it is his requirement.
+
+"A good salesman keeps his own personality in the background: he keeps
+the store and the sale in the background. He puts all the emphasis on
+service to the customer, and to do this he must mentally put himself
+in the customer's place.
+
+"Try to be as interested in the customer's finding what he wants as if
+the article was for yourself; but don't insist on his taking only the
+thing that appeals to you.
+
+"Quietly dominate the sale, but leave him plenty of room for the
+exercise of his own taste and ideas.
+
+"Most men, though they may not show it, are slightly on the defensive
+when they come into a clothing store. That is why it is so very
+important that there be no talking or laughing among the clerks.
+
+"You may find it hard to realize the effect of a whisper or a titter
+on the part of the store's help when a customer is present. In nearly
+every case the man becomes sensitive or resentful and thinks he is
+being ridiculed.
+
+"Try it yourself sometime by going into a strange store in another
+line of business in a distant city: when you hear a laugh or a remark
+passed among the clerks, see if you don't wonder if there isn't
+something wrong with your clothes or feel sure that comment is being
+made on your appearance or behavior.
+
+"There is another form of impatience or self-consciousness on the part
+of a customer who is more or less acquainted with the store. He
+hurries past everyone in front, headed for the part of the store where
+he thinks the goods he wants are kept.
+
+"It is bad policy to step in front of him or otherwise impede his
+progress. If there is no one to wait on him follow quietly and be on
+hand when he lands at his destination.
+
+"A clerk often wonders why customers persist in doing this.
+
+"It is because they have an idea of the location of what they want and
+blindly strike out for it with a certain nervous desire to cover the
+intermediate ground as quickly as possible.
+
+"Remember that while you feel perfectly at home in the store, few
+customers do. It is your business to put them at ease and certainly to
+do nothing to make them uncomfortable.
+
+"When a man comes in for a suit of clothes he usually has some sort of
+a mental picture of the thing he desires. An idea, clearly defined or
+hazy, is in his mind as to the general color and effect of the suit he
+wants.
+
+"It is something he has noticed worn by someone else--looked at in a
+show window, or seen in an illustration.
+
+"In most cases it will not be the thing he finally buys. It may be a
+chalk-line stripe or a Shepherd's Plaid worn by a drummer who boarded
+the 6.30 Lightning Express. In the glow of the lamps and the bustle
+and excitement of the Station platform the thing looked possible: but
+confronted in the store with the very style and pattern he backs away
+from it, though 'it looked good on the other man.'
+
+"Find out what he has in mind; meet it as nearly as you can and get it
+out of the way. Otherwise he will not concentrate on other goods. He
+will hold to this mental picture and measure everything you show him
+by it--much to your disadvantage.
+
+"One of the worst possible things is to ask a man about what price
+suit he wants.
+
+"Keep price in the background. Time enough to feel him out on that
+subject. No man likes to have you take the measure of his pocket-book.
+
+"You must use your judgment in gauging him as to what to show him.
+
+"The important thing is to get at the picture he has in mind, and the
+price too, if you can do so without asking him to name the figure.
+
+"Never ask a customer how he liked the last suit you sold him. Let
+by-gones be by-gones. This is a new deal. Whether he was entirely
+satisfied is not the point now. Don't raise dangerous questions.
+
+"There are a dozen reasons why his last purchase may not be remembered
+with pleasure--reasons that have nothing to do with the value he
+received or the actual merit of the clothes.
+
+"If he voluntarily mentions the last suit with praise take it as a
+natural occurrence and pass it over; you will try to do even better by
+him this time.
+
+"If he complains of his last purchase don't argue. Leave the subject
+as soon as possible and get down to the question in hand.
+
+"Have confidence in your goods, in your prices and in yourself as a
+salesman.
+
+"There are more sales lost for lack of firmness and decision at the
+right time than for any other cause.
+
+"Among the clerks in the best and biggest of stores there are ten good
+openers of a sale to one good closer.
+
+"Be a closer.
+
+"It requires judgment and decision of character, but you can learn to
+do it.
+
+"When a woman goes into a cloak and suit department, she is not
+satisfied to buy until she has been made to feel that she has pretty
+well canvassed the assortment, seen practically everything in the
+stock at the range and along the line she is seeking.
+
+"She has merchandise imagination and thinks of the possible garments
+back there in the stock that she might have liked better.
+
+"In this regard a man is somewhat easier to handle.
+
+"It is a fact often demonstrated that clerks can close a sale more
+quickly where the stock is kept on hangers instead of piled on tables.
+
+"The preliminaries are more quickly covered. Having walked down the
+line the customer is better satisfied that the whole selection is
+placed at his disposal.
+
+"There is no secret about it. Nothing held back. No mysterious pile of
+garments on a table that he cannot see.
+
+"Note the tendency of the customer to investigate a pile of
+coats--lifting up the corners and looking at the patterns.
+
+"A coat in plain view, taken off the hanger, is more obviously a
+thoughtful selection of a garment definitely suited for him and he is
+the more ready to make it his own.
+
+"The important thing in closing a sale is to narrow down the choice as
+soon as you can to one or two strong possibilities, flanked by a bad
+one--that is, a style or a pattern that you know the customer doesn't
+want.
+
+"When this point is reached it is well to move the customer away from
+the rest of the stock, say to some distant corner where he can stand
+on a rug and look in the mirror--
+
+"Where his whole attention can be given to one suit, or at most a
+choice between two.
+
+"A sale must be opened easily. The customer should never be made to
+feel that he is being restricted in his selection. But the moment you
+can form an idea of what he wants you can probably think of just the
+thing for him.
+
+"If you handle him right he accepts your knowledge of the assortment,
+instead of demanding a complete canvass of the stock.
+
+"It is then you may know that you have established his confidence.
+
+"In a comparatively short time you can narrow him down to a choice
+where by a tactful show of firmness you can help him decide.
+
+"In the handling of almost every sale there is a point beyond which
+the customer begins to flounder and show indecision.
+
+"The weak salesman leads him on and on with no stopping point--no
+place to close--and the prospective sale fades to a 'just looking
+today' excuse.
+
+"This is a universal fault among retail clerks.
+
+"The test of salesmanship is in closing a sale.
+
+"Be a closer!
+
+"Never guy a customer or 'kid him along' for the amusement of a
+by-stander or a fellow clerk. This is a common practice in some
+clothing stores. The offender is usually a self-satisfied clerk who
+has had just enough success as a salesman to make him egotistical.
+
+"He thinks he is a regular dare-devil and that by making sport of his
+customer he may win a reputation as the village cut-up. His favorite
+victim is some half-witted fellow--tho' a customer who is partly deaf
+may do and he is always ready for a yokel or a foreigner.
+
+"There is no doubt," said Sam Lambert, "that the medal for the longest
+ears and the loudest bray in the clothing business belongs to this
+Smart Aleck type of clerk known as a 'kidder'.
+
+"To say nothing of the respect he owes the customer, it is astonishing
+how he can presume to work his cheap little side-play on any human
+being, when even a dog is sensitive to ridicule and knows when he is
+being laughed at."
+
+
+
+
+CHAPTER II.
+
+
+No one questioned Sam Lambert's power as a business getter, nor the
+alertness of his store-keeping methods.
+
+He was prodigal of his own energy--never spared himself. He looked
+after the important things and left details to others.
+
+As with every man who is a constructive force in the world of affairs,
+Sam's friends and relatives shook their heads--said that he needed a
+balance-wheel.
+
+This was dinned into his ears so often that he finally came to believe
+it. So after many Sunday afternoon business discussions, it was
+arranged that he was to take into the business his wife's cousin, one
+Lemuel Stucker, who had spent twenty years saving $9000 as general
+manager for a flour and feed concern.
+
+Stucker had worked out elaborate sets of figures to prove the needed
+economies of management.
+
+He was so tireless and sincere, so careful and exact, that it was with
+a great sense of relief that Sam turned the store over to him.
+
+Here, at last, was a man who could lift from his shoulders the daily
+burden of management.
+
+Sam's real interest in the change, as those who knew him might have
+guessed, was a desire for new enterprise. He had long had an eye on a
+fine opening for a clothing store in the neighboring town of
+Bridgeville, twenty miles away, and he lost no time in carrying out
+this project.
+
+During the ensuing year he was so engrossed with the Bridgeville
+branch that Medeena rarely saw him, and Lemuel Stucker's rather
+discouraging reports on the state of business were attributed to Lem's
+conservatism and natural depression of mind.
+
+Lem was Sam's opposite in almost every particular. A small, sallow man
+with a black shoe-string necktie and a look of general regret.
+
+He spent most of his time untying knots in pieces of string, picking
+up bits of wrapping paper and sharpening short lead-pencils, and he
+was great on buying brooms.
+
+His effect on the store was one of immediate and prevalent blight.
+
+You may wonder why the boys did not complain of conditions to Sam, but
+Lem was manager--and there is something so virtuous and convincing
+about a first-class retrencher. His wise saws and thrifty sayings are
+infectious and he makes everybody so low-spirited that they are ready
+to catch anything.
+
+No more good window displays--tacks, colored cheesecloth and other
+accessories cost money, and the sun was bad for the goods.
+
+No more trim on the counters and shelves.
+
+Stop the high-power electric light in front of the store and reduce
+the lamps inside.
+
+These things did not all occur at once, but so gradually that it was
+hard to realize just what had happened to the store.
+
+The windows got streaky and the inside of the store looked dingy and
+cold.
+
+Then the conservative spirit got into the buying. Nothing but black
+cheviots with a few drab and gray worsteds.
+
+Perhaps it was just as well, for when a customer came into the store
+and saw Stucker he thought it was raining outside.
+
+Sam Lambert had always prided himself on keeping alive what he called
+the "buying spirit" in the store.
+
+Nowadays a customer got a sense of caution. The feeling was one of
+disapproval of all extravagance.
+
+Instead of purchasing a suit, the man wondered where his next month's
+rent was coming from, bought a pair of cottonade pants and hurried
+home.
+
+Trade fell off steadily. Affairs went on this way for a twelvemonth
+and then something happened.
+
+Two of Sam's principal competitors were reported to be remodeling
+their stores--and what was more, they were going to put in wardrobe
+systems and carry all their garments on hangers.
+
+This aroused Sam and he made an immediate investigation.
+
+He found that one of the stores had contracted for the old type of
+wooden wall cabinets where the clothes hung behind panelled doors.
+
+But the other was installing glass wardrobes, where the stock would be
+on view.
+
+This discovery cut Sam like a knife.
+
+He investigated further, and was delighted to find that his wardrobe
+competitor, with the temptation to save a few dollars, had ordered a
+second-rate type of glass wardrobe, with pull-out rods that swing
+inside the case, without a locking device to prevent them from
+breaking the glass.
+
+Without saying anything to Stucker he telegraphed the best wardrobe
+concern in the country to send their representative at once.
+
+
+
+
+CHAPTER III.
+
+
+At eleven o'clock the following day a quiet man wearing double-lens
+spectacles and a pre-occupied air came into the store, asked for Mr.
+Lambert and was directed to the rear where Stucker was showing Sam the
+wisdom of leaving the night covers over the black goods during the day
+to protect the stock from dust.
+
+Sam was so keyed up on the wardrobe question that he heard only about
+half that Stucker was saying.
+
+When the man with the spectacles arrived Sam guessed his mission
+without waiting for a word of greeting.
+
+"You," said Sam, "are here to talk wardrobes; let's see what you've
+got."
+
+"Before I talk wardrobes, or, if you please, the New Way system,"
+began the salesman, "I would prefer to get a fair idea of the amount
+and kind of stock you carry and how you care for it now."
+
+"Just as I thought," interrupted Stucker. "You're afraid our stock is
+too big for your wardrobe capacity.
+
+"Well, I don't want to discourage you, but when you count the suits on
+the table, don't forget to add about 50 dozen pair of knee pants and
+odd trousers stored in case-goods boxes under the tables.
+
+"Remember too, that when you take the tables out, you must find
+another place for our last years sweaters, mufflers, caps, gloves and
+underwear, as well as all our advance stock of shirts, hosiery and
+ties which we keep under the tables because we have no room for them
+on our side shelving. You can see it is piled to the ceiling now; and
+all that on top is active stock."
+
+"That reminds me, Mr. Stucker, of a joke your friend Jones, over at
+Dennisville, played on Sakes, his partner.
+
+"Before we remodelled their store, they had a lot of money tied up in
+stock piled under the tables like you have. Most of it was odds and
+ends--left overs of many seasons that Jones knew even a clearance sale
+would not clean up.
+
+"He inventoried the lot and shipped 72 dozen pair of knee pants to New
+York, and wrote the auctioneer to send a check for whatever amount
+they brought.
+
+"The funny part of it, Sakes never discovered that the stock was gone
+until about three weeks later, when he noticed a check in the mail and
+asked Jones what it was for.
+
+"You can do the same thing, Mr. Stucker, with your stock under the
+tables, and the check you will get will help buy New Way sectional
+shelving that will give you about three times the capacity your
+furnishing department has now; so it will not be necessary to climb to
+the ceiling for your active stock or dig under the tables for your out
+of season goods.
+
+"Before we discuss detail, Mr. Lambert," continued the salesman, "I
+have something to say about the practical arrangement of the inside of
+the store.
+
+"The business of a store is to sell goods. A customer may come in for
+one item. You want him to buy two or three or a half a dozen. The
+easier you make it for him, the less he has to cross and recross the
+store to complete his purchases--the more goods you will sell him.
+
+"What you want--what every merchant wants--and what few have--is a
+practical, natural selling arrangement of the goods.
+
+"The invention of a practical wardrobe merely made the right plan
+possible.
+
+"Our business is to suggest the plan and fit the wardrobe arrangement
+to the needs of a store.
+
+"Every clothing store has its own individuality. Each problem must be
+worked out on the ground with a full knowledge of the stock and the
+business, the history of the store, the nature of its trade and the
+personality of its proprietor."
+
+Sam's interest was excited. This point of view was new to him, but he
+could see the truth of it and he was impatient to get at the heart of
+the matter as far as his own store was concerned.
+
+"You're right," he said, "about the personality and individuality of a
+store; and for that reason don't tell me to put the furnishing goods
+shelving down the middle of the store. This is a clothing store and
+not a haberdashery."
+
+"Mr. Lambert," said the salesman, "you have hit the nail squarely on
+the head. This is a double room, a very different problem from that of
+a single store. I looked over the place of one of your competitors
+this morning. He also has a double store with much the same
+arrangement as yours and I find that he is making a mistake--adopting
+a plan that is about five years behind the times.
+
+"You see, in the earlier days of the wardrobe, there was no such thing
+as a center wardrobe. Therefore the clothing had to be hung against
+the wall in pull-out cabinets. When the clothing went to the side
+walls the furnishings had to move to the center floor space.
+
+"Such an arrangement is not practical for a double store and the
+effect is bad. It kills the first impression of a big store. The
+shelving will look bare if it is not trimmed, and if it is trimmed
+your big double room looks like two small stores divided by a wall.
+
+"The center shelving will always have stock boxes piled on top and
+that will throw one side of the store always in shadow. Besides, this
+arrangement divides the trade and screens half of it from view.
+
+"The stock is cut in two and looks small.
+
+"One salesman can not wait on the furnishing goods trade without
+neglecting half of it all the time. If you have two clerks, a customer
+must be taken from one side to the other for his ties or underwear,
+and there you are again, both on one side at the same time.
+
+"If another customer came along they'd have to stop in the middle of a
+sale and refer him to a clerk around in the other aisle.
+
+"A furnishing goods department should be continuous. The sale of a
+shirt will lead to the purchase of a tie or a collar or hosiery. The
+goods should be in sight so that they automatically suggest
+themselves.
+
+"You enter this store and the first impression you get is a big
+clothing store. That is what you want. Clothing dominates the store.
+Furnishing goods and hats are important and necessary side lines. No
+one would mistake it for a haberdasher's. You have been known from the
+beginning as the leading clothier. That's the reputation you want to
+keep.
+
+"Mr. Lambert, one of the important problems of this store is to house
+your stock in new fixtures and at the same time widen your aisles.
+
+"You can not see how that is possible. It is really the only problem I
+have to solve for you, and it is easy."
+
+The little man with the big spectacles had things moving. He was not
+much of a salesman but he knew all about merchandising in a retail
+store.
+
+And he certainly was familiar with every store fixture and selling
+device that had ever been invented, its good and bad points, where it
+was practical and where it was not.
+
+"Before a merchant puts money into store equipment," said the wardrobe
+man, "he ought to be sure that he is getting the very latest and most
+improved models. He owes this to himself as a protection for his
+investment.
+
+"There is always a temptation to save a few dollars by adopting a poor
+imitation or some out-of-date device.
+
+"The latest and best is the cheapest in the end, especially when you
+consider convenience and durability.
+
+"A pretty safe guide is to see what the biggest and best stores
+everywhere are installing today.
+
+"You will find such merchants as John Wanamaker in his Philadelphia
+and New York stores equipping his clothing departments solely with New
+Way Crystal Wardrobes;
+
+"Browning, King & Company in seventeen cities;
+
+"Schuman, Kennedy, Posner, Talbot Company, Jordan-Marsh & Company,
+Leopold Morse Company, McCullough & Parker in Boston;
+
+"George Muse Company in Atlanta;
+
+"Mullen & Bluett of Los Angeles;
+
+"Becker of San Francisco;
+
+"Burkhardt of Cincinnati;
+
+"Lazarus, and Meyer Israel of New Orleans;
+
+"And more than a thousand others--all the representative stores of
+their localities.
+
+"These men have selected the New Way Crystal Wardrobes after careful
+comparison with every other device on the market.
+
+"They have found the New Way Crystal Wardrobe the most sightly and
+compact--having the largest capacity with the greatest ease of
+operation.
+
+"They find that they show the goods better; that the clerks can work
+faster from them; that half a dozen clerks can sell from one wardrobe
+at the same time; that one boy can keep the stock in good shape where
+four were inadequate under any other plan.
+
+"They find that the New Way people have basic patents on special
+features, such as the New Way disappearing doors that divide in the
+center, and slide into the ends of the wardrobe and do not project
+into the aisle.
+
+"The New Way revolving rack with the patent locking device, which
+works loaded or unloaded with equal ease--no friction, no leverage, no
+noise.
+
+"They find the New Way low center wardrobes give an unobstructed view
+all over the store and are the only wardrobes made that are entirely
+practical for grouping in front of a furnishing or hat department.
+
+"Likewise the high double deck wall wardrobes have more than double
+the capacity of tables."
+
+The wardrobe man illustrated his talk with photographs and backed his
+arguments with figures.
+
+The upshot of it was that he made a complete ground plan of the
+Lambert store with a modern selling arrangement and New Way fixtures
+in their proper places.
+
+But before Stucker would admit the wisdom of the improvement, he
+argued it from every point of view.
+
+"The farmer trade," he said, "would imagine that they would have to
+pay higher prices for clothing to make up the cost of new fixtures."
+
+This, mind you, today when the farmer is the most enlightened member
+of the community--when he is using progressive methods in marketing
+his own product, to reduce his costs and increase his profits!
+
+Lem acknowledged that the clothiers who are handling the finest
+merchandise are fitting up their stores with New Way Crystal
+Wardrobes, and he didn't like to admit that the Lambert Store didn't
+sell high grade merchandise.
+
+He conceded that fine goods in every other line of trade are treated
+with the care and respect they deserve, otherwise they would suffer in
+the handling and cease to be fine merchandise.
+
+Finally, Lem admitted that the discerning public does judge a
+merchant's stock by the way he treats it, so that the store with New
+Way Wardrobes as a feature is not only the most progressive store, but
+in practically every instance the most prosperous in the clothing
+trade of its locality.
+
+After Sam had given the order his one thought was impatience for the
+completion of the job.
+
+"I must have that stuff all installed so that I can have my opening a
+week ahead of the other people.
+
+"Here, Stucker," called Sam to that gloomy soul, who had gone behind a
+stock of work-shirts, while the order was being signed, "we'll let you
+dispose of the old fixtures. That's a job that's just about your size.
+
+"I tell you, Stucker, a natural-born retrencher has his virtues. But
+if you give him rope enough he will retrench you out of business. He
+never builds anything. If it wasn't for the creative man there would
+be nothing to retrench.
+
+"The retrencher is all right if you don't pay him too much. He is
+worth about $10 a month, because you can find fifty of them in any old
+man's home that you can hire for less money than that.
+
+"No, Lem, I won't be unfair. You're not as bad as all that. It takes
+all kinds of people to make a world and there is plenty of room for
+both of us in this business--there always will be leaks to stop and
+work to do for an earnest man who has the interest of the store at
+heart.
+
+"The fault has been in the division of our labor. I'll show you the
+way we can get the best out of ourselves."
+
+"Sam," said Lem, "I reckon I've been looking at the world through a
+crack in the fence and I'll have to widen out my view a little. You
+give me the books and the sales slips to look after. In the meantime
+I'm going to make the most exact inventory this store ever had and be
+ready to check in the fresh stock that is to go in these New Way
+wardrobes.
+
+"My talents are all right if I don't try to cover too much territory."
+
+The two men shook hands.
+
+All was in readiness on the day set. Everybody in Medeena County came
+to the Grand Opening, and Sam Lambert's New Way Store is doing the
+business of the town.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK SAM LAMBERT AND THE NEW WAY STORE***
+
+
+******* This file should be named 23547.txt or 23547.zip *******
+
+
+This and all associated files of various formats will be found in:
+http://www.gutenberg.org/dirs/2/3/5/4/23547
+
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties. Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark. Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission. If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy. You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research. They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks. Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://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 F3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium with
+your written explanation. The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund. If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund. If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law. The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section 2. Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers. It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf.
+
+
+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
+business@pglaf.org. Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://www.gutenberg.org/about/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 http://www.gutenberg.org/fundraising/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:
+http://www.gutenberg.org/fundraising/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone. For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included. Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+ http://www.gutenberg.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.
+