initial commit of ebook 24192HEADmain

1 files changed, 918 insertions, 0 deletions

diff --git a/24192.txt b/24192.txt
new file mode 100644
index 0000000..5e90ce0
--- /dev/null
+++ b/24192.txt
@@ -0,0 +1,918 @@
+The Project Gutenberg EBook of The First One, by Herbert D. Kastle
+
+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: The First One
+
+Author: Herbert D. Kastle
+
+Release Date: January 7, 2008 [EBook #24192]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE FIRST ONE ***
+
+
+
+
+Produced by Greg Weeks, Mary Meehan and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+                             THE FIRST ONE
+
+                          By HERBERT D. KASTLE
+
+                        Illustrated by von Dongen
+
+[Transcriber's Note: This etext was produced from Analog July 1961.
+Extensive research did not uncover any evidence that the U.S. copyright
+on this publication was renewed.]
+
+
+     _The first man to return from beyond the Great Frontier may be
+     welcomed ... but will it be as a curiosity, rather than as a
+     hero...?_
+
+
+There was the usual welcoming crowd for a celebrity, and the usual
+speeches by the usual politicians who met him at the airport which had
+once been twenty miles outside of Croton, but which the growing city had
+since engulfed and placed well within its boundaries. But everything
+wasn't usual. The crowd was quiet, and the mayor didn't seem quite as
+at-ease as he'd been on his last big welcoming--for Corporal Berringer,
+one of the crew of the spaceship _Washington_, first to set Americans
+upon Mars. His Honor's handclasp was somewhat moist and cold. His
+Honor's eyes held a trace of remoteness.
+
+Still, he was the honored home-comer, the successful returnee, the
+hometown boy who had made good in a big way, and they took the triumphal
+tour up Main Street to the new square and the grandstand. There he sat
+between the mayor and a nervous young coed chosen as homecoming queen,
+and looked out at the police and fire department bands, the National
+Guard, the boy scouts and girl scouts, the Elks and Masons. Several of
+the churches in town had shown indecision as to how to instruct their
+parishioners to treat him. But they had all come around. The tremendous
+national interest, the fact that he was the First One, had made them
+come around. It was obvious by now that they would have to adjust as
+they'd adjusted to all the other firsts taking place in these--as the
+newspapers had dubbed the start of the Twenty-first Century--the
+Galloping Twenties.
+
+He was glad when the official greeting was over. He was a very tired man
+and he had come farther, traveled longer and over darker country, than
+any man who'd ever lived before. He wanted a meal at his own table, a
+kiss from his wife, a word from his son, and later to see some old
+friends and a relative or two. He didn't want to talk about the journey.
+He wanted to forget the immediacy, the urgency, the terror; then perhaps
+he would talk.
+
+Or would he? For he had very little to tell. He had traveled and he had
+returned and his voyage was very much like the voyages of the great
+mariners, from Columbus onward--long, dull periods of time passing,
+passing, and then the arrival.
+
+The house had changed. He saw that as soon as the official car let him
+off at 45 Roosevelt Street. The change was, he knew, for the better.
+They had put a porch in front. They had rehabilitated, spruced up,
+almost rebuilt the entire outside and grounds. But he was sorry. He had
+wanted it to be as before.
+
+The head of the American Legion and the chief of police, who had
+escorted him on this trip from the square, didn't ask to go in with him.
+He was glad. He'd had enough of strangers. Not that he was through with
+strangers. There were dozens of them up and down the street, standing
+beside parked cars, looking at him. But when he looked back at them,
+their eyes dropped, they turned away, they began moving off. He was
+still too much the First One to have his gaze met.
+
+He walked up what had once been a concrete path and was now an ornate
+flagstone path. He climbed the new porch and raised the ornamental
+knocker on the new door and heard the soft music sound within. He was
+surprised that he'd had to do this. He'd thought Edith would be watching
+at a window.
+
+And perhaps she _had_ been watching ... but she hadn't opened the door.
+
+The door opened; he looked at her. It hadn't been too long and she
+hadn't changed at all. She was still the small, slender girl he'd loved
+in high school, the small, slender woman he'd married twelve years ago.
+Ralphie was with her. They held onto each other as if seeking mutual
+support, the thirty-three-year old woman and ten-year-old boy. They
+looked at him, and then both moved forward, still together. He said,
+"It's good to be home!"
+
+Edith nodded and, still holding to Ralphie with one hand, put the other
+arm around him. He kissed her--her neck, her cheek--and all the old
+jokes came to mind, the jokes of travel-weary, battle-weary men, the
+and-_then_-I'll-put-my-pack-aside jokes that spoke of terrible hunger.
+She was trembling, and even as her lips came up to touch his he felt the
+difference, and because of this difference he turned with urgency to
+Ralphie and picked him up and hugged him and said, because he could
+think of nothing else to say, "What a big fella, what a big fella."
+
+Ralphie stood in his arms as if his feet were still planted on the
+floor, and he didn't look at his father but somewhere beyond him. "I
+didn't grow much while you were gone, Dad, Mom says I don't eat enough."
+
+So he put him down and told himself that it would all change, that
+everything would loosen up just as his commanding officer, General
+Carlisle, had said it would early this morning before he left
+Washington.
+
+"Give it some time," Carlisle had said. "You need the time; they need
+the time. And for the love of heaven, don't be sensitive."
+
+       *       *       *       *       *
+
+Edith was leading him into the living room, her hand lying still in his,
+a cool, dead bird lying still in his. He sat down on the couch, she sat
+down beside him--but she had hesitated. He _wasn't_ being sensitive; she
+had hesitated. His wife had hesitated before sitting down beside him.
+
+Carlisle had said his position was analogous to Columbus', to Vasco De
+Gama's, to Preshoff's when the Russian returned from the Moon--but more
+so. Carlisle had said lots of things, but even Carlisle who had worked
+with him all the way, who had engineered the entire fantastic
+journey--even Carlisle the Nobel prize winner, the multi-degreed genius
+in uniform, had not actually spoken to him as one man to another.
+
+_The eyes. It always showed in their eyes._
+
+He looked across the room at Ralphie, standing in the doorway, a boy
+already tall, already widening in the shoulders, already large of
+feature. It was like looking into the mirror and seeing himself
+twenty-five years ago. But Ralphie's face was drawn, was worried in a
+way that few ten-year-old faces are.
+
+"How's it going in school?" he asked.
+
+"Gee, Dad, it's the second month of summer vacation."
+
+"Well, then, before summer vacation?"
+
+"Pretty good."
+
+Edith said, "He made top forum the six-month period before vacation, and
+he made top forum the six-month period you went away, Hank."
+
+He nodded, remembering that, remembering everything, remembering the
+warmth of her farewell, the warmth of Ralphie's farewell, their tears as
+he left for the experimental flight station in the Aleutians. They had
+feared for him, having read of the many launchings gone wrong even in
+continent-to-continent experimental flight.
+
+They had been right to worry. He had suffered much after that blow-up.
+But now they should be rejoicing, because he had survived and made the
+long journey. Ralphie suddenly said, "I got to go, Dad. I promised Walt
+and the others I'd pitch. It's Inter-Town Little League, you know. It's
+Harmon, you know. I got to keep my word." Without waiting for an answer,
+he waved his hand--it shook; a ten-year-old boy's hand that shook--and
+ran from the room and from the house.
+
+He and Edith sat beside each other, and he wanted badly to take her in
+his arms, and yet he didn't want to oppress her. He stood up. "I'm very
+tired. I'd like to lie down a while." Which wasn't true, because he'd
+been lying down all the months of the way back.
+
+She said, "Of course. How stupid of me, expecting you to sit around and
+make small talk and pick up just where you left off."
+
+He nodded. But that was exactly what he wanted to do--make small talk
+and pick up just where he'd left off. But they didn't expect it of him;
+they wouldn't let him; they felt he had changed too much.
+
+       *       *       *       *       *
+
+She led him upstairs and along the foyer past Ralphie's room and past
+the small guest room to their bedroom. This, too, had changed. It was
+newly painted and it had new furniture. He saw twin beds separated by an
+ornate little table with an ornate little lamp, and this looked more
+ominous a barrier to him than the twelve-foot concrete-and-barbed-wire
+fence around the experimental station.
+
+"Which one is mine," he asked, and tried to smile.
+
+She also tried to smile. "The one near the window. You always liked the
+fresh air, the sunshine in the morning. You always said it helped you
+to get up on time when you were stationed at the base outside of town.
+You always said it reminded you--being able to see the sky--that you
+were going to go up in it, and that you were going to come down from it
+to this bed again."
+
+"Not this bed," he murmured, and was a little sorry afterward.
+
+"No, not this bed," she said quickly. "Your lodge donated the bedroom
+set and I really didn't know--" She waved her hand, her face white.
+
+He was sure then that she _had_ known, and that the beds and the barrier
+between them were her own choice, if only an unconscious choice. He went
+to the bed near the window, stripped off his Air Force blue jacket,
+began to take off his shirt, but then remembered that some arm scars
+still showed. He waited for her to leave the room.
+
+She said, "Well then, rest up, dear," and went out.
+
+He took off his shirt and saw himself in the mirror on the opposite
+wall; and then took off his under-shirt. The body scars were faint, the
+scars running in long lines, one dissecting his chest, the other slicing
+diagonally across his upper abdomen to disappear under his trousers.
+There were several more on his back, and one on his right thigh. They'd
+been treated properly and would soon disappear. But she had never seen
+them.
+
+Perhaps she never would. Perhaps pajamas and robes and dark rooms would
+keep them from her until they were gone.
+
+Which was not what he'd considered at all important on leaving Walter
+Reed Hospital early this morning; which was something he found
+distasteful, something he felt beneath them both. And, at the same time,
+he began to understand that there would be many things, previously
+beneath them both, which would have to be considered. She had changed;
+Ralphie had changed; all the people he knew had probably
+changed--because they thought _he_ had changed.
+
+He was tired of thinking. He lay down and closed his eyes. He let
+himself taste bitterness, unhappiness, a loneliness he had never known
+before.
+
+But sometime later, as he was dozing off, a sense of reassurance began
+filtering into his mind. After all, he was still Henry Devers, the same
+man who had left home eleven months ago, with a love for family and
+friends which was, if anything, stronger than before. Once he could
+communicate this, the strangeness would disappear and the First One
+would again become good old Hank. It was little enough to ask for--a
+return to old values, old relationships, the normalcies of the backwash
+instead of the freneticisms of the lime-light. It would certainly be
+granted to him.
+
+He slept.
+
+       *       *       *       *       *
+
+Dinner was at seven P.M. His mother came; his Uncle Joe and Aunt Lucille
+came. Together with Edith, Ralphie and himself, they made six, and ate
+in the dining room at the big table.
+
+Before he'd become the First One, it would have been a noisy affair. His
+family had never been noted for a lack of ebullience, a lack of
+talkativeness, and Ralphie had always chosen mealtimes--especially with
+company present--to describe everything and anything that had happened
+to him during the day. And Edith herself had always chatted, especially
+with his mother, though they didn't agree about much. Still, it had been
+good-natured; the general tone of their lives had been good-natured.
+
+This wasn't good-natured. Exactly what it was he wasn't sure. "Stiff"
+was perhaps the word.
+
+They began with grapefruit, Edith and Mother serving quickly,
+efficiently from the kitchen, then sitting down at the table. He looked
+at Mother as he raised his first spoonful of chilled fruit, and said,
+"Younger than ever." It was nothing new; he'd said it many many times
+before, but his mother had always reacted with a bright smile and a quip
+something like, "Young for the Golden Age Center, you mean." This time
+she burst into tears. It shocked him. But what shocked him even more was
+the fact that no one looked up, commented, made any attempt to comfort
+her; no one indicated in any way that a woman was sobbing at the table.
+
+He was sitting directly across from Mother, and reached out and touched
+her left hand which lay limply beside the silverware. She didn't move
+it--she hadn't touched him once beyond that first, quick, strangely-cool
+embrace at the door--then a few seconds later she withdrew it and let it
+drop out of sight.
+
+So there he was, Henry Devers, at home with the family. So there he was,
+the hero returned, waiting to be treated as a human being.
+
+The grapefruit shells were cleaned away and the soup served. Uncle Joe
+began to talk. "The greatest little development of circular uniform
+houses you ever did see," he boomed in his powerful salesman's voice.
+"Still going like sixty. We'll sell out before--" At that point he
+looked at Hank, and Hank nodded encouragement, desperately interested in
+this normalcy, and Joe's voice died away. He looked down at his plate,
+mumbled, "Soup's getting cold," and began to eat. His hand shook a
+little; his ruddy face was not quite as ruddy as Hank remembered it.
+
+Aunt Lucille made a few quavering statements about the Ladies' Tuesday
+Garden Club, and Hank looked across the table to where she sat between
+Joe and Mother--his wife and son bracketed him, and yet he felt
+alone--and said, "I've missed fooling around with the lawn and the rose
+bushes. Here it is August and I haven't had my hand to a mower or
+trowel."
+
+Aunt Lucille smiled, if you could call it that--a pitiful twitching of
+the lips--and nodded. She threw her eyes in his direction, and past him,
+and then down to her plate. Mother, who was still sniffling, said, "I
+have a dismal headache. I'm going to lie down in the guest room a
+while." She touched his shoulder in passing--his affectionate, effusive
+mother who would kiss stray dogs and strange children, who had often
+irritated him with an excess of physical and verbal caresses--she barely
+touched his shoulder and fled.
+
+So now five of them sat at the table. The meat was served--thin, rare
+slices of beef, the pink blood-juice oozing warmly from the center. He
+cut into it and raised a forkful to his mouth, then glanced at Ralphie
+and said, "Looks fresh enough to have been killed in the back yard."
+Ralphie said, "Yeah, Dad." Aunt Lucille put down her knife and fork and
+murmured something to her husband. Joe cleared his throat and said
+Lucille was rapidly becoming a vegetarian and he guessed she was going
+into the living room for a while. "She'll be back for dessert, of
+course," he said, his laugh sounding forced.
+
+Hank looked at Edith; Edith was busy with her plate. Hank looked at
+Ralphie; Ralphie was busy with his plate. Hank looked at Joe; Joe was
+chewing, gazing out over their heads to the kitchen. Hank looked at
+Lucille; she was disappearing into the living room.
+
+He brought his fist down on the table. The settings jumped; a glass
+overturned, spilling water. He brought it down again and again. They
+were all standing now. He sat there and pounded the table with his big
+right fist--Henry Devers, who would never have thought of making such a
+scene before, but who was now so sick and tired of being treated as the
+First One, of being stood back from, looked at in awe of, felt in fear
+of, that he could have smashed more than a table.
+
+Edith said, "Hank!"
+
+He said, voice hoarse, "Shut up. Go away. Let me eat alone. I'm sick of
+the lot of you."
+
+       *       *       *       *       *
+
+Mother and Joe returned a few minutes later where he sat forcing food
+down his throat. Mother said, "Henry dear--" He didn't answer. She began
+to cry, and he was glad she left the house then. He had never said
+anything really bad to his mother. He was afraid this would have been
+the time. Joe merely cleared his throat and mumbled something about
+getting together again soon and "drop out and see the new development"
+and he, too, was gone. Lucille never did manage to speak to him.
+
+He finished his beef and waited. Soon Edith came in with the special
+dessert she'd been preparing half the day--a magnificent English trifle.
+She served him, and spooned out a portion for herself and Ralphie. She
+hesitated near his chair, and when he made no comment she called the
+boy. Then the three of them were sitting, facing the empty side of the
+table. They ate the trifle. Ralphie finished first and got up and said,
+"Hey, I promised--"
+
+"You promised the boys you'd play baseball or football or handball or
+something; anything to get away from your father."
+
+Ralphie's head dropped and he muttered, "Aw, no, Dad."
+
+Edith said, "He'll stay home, Hank. We'll spend an evening
+together--talking, watching TV, playing Monopoly."
+
+Ralphie said, "Gee, sure, Dad, if you want to."
+
+Hank stood up. "The question is not whether I want to. You both know I
+want to. The question is whether _you_ want to."
+
+They answered together that of course they wanted to. But their
+eyes--his wife's and son's eyes--could not meet his, and so he said he
+was going to his room because he was, after all, very tired and would in
+all probability continue to be very tired for a long, long time and that
+they shouldn't count on him for normal social life.
+
+He fell asleep quickly, lying there in his clothes.
+
+But he didn't sleep long. Edith shook him and he opened his eyes to a
+lighted room. "Phil and Rhona are here." He blinked at her. She smiled,
+and it seemed her old smile. "They're so anxious to see you, Hank. I
+could barely keep Phil from coming up and waking you himself. They want
+to go out and do the town. Please, Hank, say you will."
+
+He sat up. "Phil," he muttered. "Phil and Rhona." They'd had wonderful
+times together, from grammar school on. Phil and Rhona, their oldest and
+closest friends. Perhaps this would begin his real homecoming.
+
+Do the town? They'd paint it and then tear it down!
+
+       *       *       *       *       *
+
+It didn't turn out that way. He was disappointed; but then again, he'd
+also expected it. This entire first day at home had conditioned him to
+expect nothing good. They went to the bowling alleys, and Phil sounded
+very much the way he always had--soft spoken and full of laughter and
+full of jokes. He patted Edith on the head the way he always had, and
+clapped Hank on the shoulder (but not the way he always had--so much
+more gently, almost remotely), and insisted they all drink more than was
+good for them as he always had. And for once, Hank was ready to go along
+on the drinking. For once, he matched Phil shot for shot, beer for beer.
+
+They didn't bowl very long. At ten o'clock they crossed the road to
+Manfred's Tavern, where Phil and the girls ordered sandwiches and coffee
+and Hank went right on drinking. Edith said something to him, but he
+merely smiled and waved his hand and gulped another ounce of nirvana.
+
+There was dancing to a juke box in Manfred's Tavern. He'd been there
+many times before, and he was sure several of the couples recognized
+him. But except for a few abortive glances in his direction, it was as
+if he were a stranger in a city halfway around the world.
+
+At midnight, he was still drinking. The others wanted to leave, but he
+said, "I haven't danced with my girl Rhona." His tongue was thick, his
+mind was blurred, and yet he could read the strange expression on her
+face--pretty Rhona, who'd always flirted with him, who'd made a ritual
+of flirting with him. Pretty Rhona, who now looked as if she were going
+to be sick.
+
+"So let's rock," he said and stood up.
+
+They were on the dance floor. He held her close, and hummed and chatted.
+And through the alcoholic haze saw she was a stiff-smiled, stiff-bodied,
+mechanical dancing doll.
+
+The number finished; they walked back to the booth. Phil said,
+"Beddy-bye time."
+
+Hank said, "First one dance with my loving wife."
+
+He and Edith danced. He didn't hold her close as he had Rhona. He waited
+for her to come close on her own, and she did, and yet she didn't.
+Because while she put herself against him, there was something in her
+face--no, in her eyes; it always showed in the eyes--that made him know
+she was trying to be the old Edith and not succeeding. This time when
+the music ended, he was ready to go home.
+
+They rode back to town along Route Nine, he and Edith in the rear of
+Phil's car, Rhona driving because Phil had drunk just a little too much,
+Phil singing and telling an occasional bad joke, and somehow not his old
+self. No one was his old self. No one would ever be his old self with
+the First One.
+
+They turned left, to take the short cut along Hallowed Hill Road, and
+Phil finished a story about a Martian and a Hollywood sex queen and
+looked at his wife and then past her at the long, cast-iron fence
+paralleling the road. "Hey," he said, pointing, "do you know why that's
+the most popular place on earth?"
+
+Rhona glanced to the left, and so did Hank and Edith. Rhona made a
+little sound, and Edith seemed to stop breathing, but Phil went on a
+while longer, not yet aware of his supposed _faux pas_.
+
+"You know why?" he repeated, turning to the back seat, the laughter
+rumbling up from his chest. "You know why, folks?"
+
+Rhona said, "Did you notice Carl Braken and his wife at--"
+
+Hank said, "No, Phil, why is it the most popular place on earth?"
+
+Phil said, "Because people are--" And then he caught himself and waved
+his hand and muttered, "I forgot the punch line."
+
+"Because people are dying to get in," Hank said, and looked through the
+window, past the iron fence, into the large cemetery at the fleeting
+tombstones.
+
+The car was filled with horrified silence when there should have been
+nothing but laughter, or irritation at a too-old joke. "Maybe you should
+let me out right here," Hank said. "I'm home--or that's what everyone
+seems to think. Maybe I should lie down in an open grave. Maybe that
+would satisfy people. Maybe that's the only way to act, like Dracula or
+another monster from the movies."
+
+Edith said, "Oh, Hank, don't, don't!"
+
+The car raced along the road, crossed a macadam highway, went four
+blocks and pulled to a stop. He didn't bother saying good night. He
+didn't wait for Edith. He just got out and walked up the flagstone path
+and entered the house.
+
+       *       *       *       *       *
+
+"Hank," Edith whispered from the guest room doorway, "I'm so sorry--"
+
+"There's nothing to be sorry about. It's just a matter of time. It'll
+all work out in time."
+
+"Yes," she said quickly, "that's it. I need a little time. We all need a
+little time. Because it's so strange, Hank. Because it's so frightening.
+I should have told you that the moment you walked in. I think I've hurt
+you terribly, we've all hurt you terribly, by trying to hide that we're
+frightened."
+
+"I'm going to stay in the guest room," he said, "for as long as
+necessary. For good if need be."
+
+"How could it be for good? How, Hank?"
+
+That question was perhaps the first firm basis for hope he'd had since
+returning. And there was something else; what Carlisle had told him,
+even as Carlisle himself had reacted as all men did.
+
+"There are others coming, Edith. Eight that I know of in the tanks right
+now. My superior, Captain Davidson, who died at the same moment I
+did--seven months ago next Wednesday--he's going to be next. He was
+smashed up worse than I was, so it took a little longer, but he's almost
+ready. And there'll be many more, Edith. The government is going to save
+all they possibly can from now on. Every time a young and healthy man
+loses his life by accident, by violence, and his body can be recovered,
+he'll go into the tanks and they'll start the regenerative brain and
+organ process--the process that made it all possible. So people have to
+get used to us. And the old stories, the old terrors, the ugly old
+superstitions have to die, because in time each place will have some of
+us; because in time it'll be an ordinary thing."
+
+Edith said, "Yes, and I'm so grateful that you're here, Hank. Please
+believe that. Please be patient with me and Ralphie and--" She paused.
+"There's one question."
+
+He knew what the question was. It had been the first asked him by
+everyone from the president of the United States on down.
+
+"I saw nothing," he said. "It was as if I slept those six and a half
+months--slept without dreaming."
+
+She came to him and touched his face with her lips, and he was
+satisfied.
+
+Later, half asleep, he heard a dog howling, and remembered stories of
+how they announced death and the presence of monsters. He shivered and
+pulled the covers closer to him and luxuriated in being safe in his own
+home.
+
+
+THE END
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The First One, by Herbert D. Kastle
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE FIRST ONE ***
+
+***** This file should be named 24192.txt or 24192.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/4/1/9/24192/
+
+Produced by Greg Weeks, Mary Meehan and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://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.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.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.