summaryrefslogtreecommitdiff
diff options
context:
space:
mode:
-rw-r--r--58995-0.txt432
-rw-r--r--58995-8.txt815
-rw-r--r--58995-h/58995-h.htm410
3 files changed, 434 insertions, 1223 deletions
diff --git a/58995-0.txt b/58995-0.txt
new file mode 100644
index 0000000..81b8c35
--- /dev/null
+++ b/58995-0.txt
@@ -0,0 +1,432 @@
+*** START OF THE PROJECT GUTENBERG EBOOK 58995 ***
+
+
+
+
+
+
+
+
+
+
+
+
+ SELLER OF THE SKY
+
+ BY DAVE DRYFOOS
+
+ _No one took Old Arch seriously; he was just an
+ ancient, broken-down wanderer who went about seeking
+ alms and spreading tales of the great Outside. But
+ sometimes children are curious and believing when
+ adults are cynical and doubting...._
+
+ [Transcriber's Note: This etext was produced from
+ Worlds of If Science Fiction, February 1955.
+ Extensive research did not uncover any evidence that
+ the U.S. copyright on this publication was renewed.]
+
+
+There have always been the touched, the blessés, God's poor. Such a one
+was Old Arch. Archer Jakes, the Wanderer of the Plains.
+
+They say he was born on Earth in 3042 and taken to Mazzeppa as a child.
+That he learned pilotage and mining. But that he was injured in a
+cave-in on Hurretni in 3068 or thereabouts, and then his wife died in a
+landing accident and his child was taken from him and adopted by people
+he never could find.
+
+Those things are too far distant in time and space to be verified now.
+But it is a fact that by 4000, when my grandfather Hockington Hammer
+was growing up in New Oshkosh, Old Arch was a familiar figure in all
+the Domed Cities of the Plains.
+
+He looked ancient then, with his deformed back that people touched for
+luck, and his wild hair and beard, and ragged castoff clothing. On his
+back he carried a roll of cloth he called his bed, though it looked
+like no bed any City man had ever seen. In his right hand he carried
+a staff of wood, unless someone bought it from him and gave him a
+plastic rod in its place. And in his left he carried what he called a
+billy can, which was a food container with a loop of wire across the
+top for a handle, and the bottom blackened by what he said was fire.
+
+It would have been like no fire any City man had ever seen. Even the
+water in the can would be poison to a City man. When he came in the
+airlocks the guards would make him throw it away.
+
+"Why the lock?" he'd demand, coming into a City. "Why the lock and why
+the plastic bubble over all and why the guards? There's no pollution.
+Am I not alive?"
+
+The guards would touch his hump and make circular motions at the sides
+of their heads and raise their eyebrows as if to say, "Yes, you're
+alive. But are you not crazy?"
+
+Still they would admit him, the only nonresident to walk between the
+Domed Cities of the Plains and enter all of them; the only man to pass
+unharmed through the camps of the Outsiders who lived in the open on
+the Plains at the heart of the North American Continent of Earth.
+
+And Old Arch would go to the residence buildings and he'd knock on
+someone's door--any door, chosen at random--and he'd say, "Have you
+seen the sky and do you know it's blue? Have you felt the soft kiss of
+the breezes? I can show you where to breathe fresh air."
+
+Maybe the people would say, "Phew! Does it smell like you, this fresh
+air?" and slam the door in his face.
+
+Or maybe they'd say, "Come on around to the back, Old Man, and we'll
+find you something to eat."
+
+Then Old Arch would shoulder his bed and pick up his billy can and his
+staff and walk down the stairs and go around to the back and walk up
+the stairs to the rear door.
+
+It might be an hour before he appeared there--it might be two. When he
+did, the people would ask, "Why didn't you say something? You should
+have known they wouldn't let you in the elevator! And twenty flights
+down and twenty flights up again is too much for a man of your years."
+
+Then, the next time he came they would do the same thing again.
+
+In the kitchen he would refuse all the pills and potions and shots, and
+insist on bulky foods. These he would eat neatly, holding aside the
+long white hair around his mouth and brushing the crumbs from it often.
+What he couldn't eat right away would go into his blackened billy can.
+
+The children would come before he finished--those of the household,
+and neighbor kids too. First they'd stand shyly and watch him from a
+doorway. Then they'd press closer. By the time he got through they'd
+be fighting to sit on his lap.
+
+The winner would climb up and sit there proudly. One of the losers,
+trying to prove he hadn't lost much, might wrinkle up his nose and say,
+"What's that awful stink, Old Man?"
+
+And Arch would answer mildly, "It's only wood smoke, son."
+
+Then the children would ask, "What's wood, please? And what's smoke?"
+
+And he would tell them.
+
+He would tell of the wind and the rain and the snow; of the cattalo
+herds that roamed to the west and the cities that lay to the east and
+the stars and the Moon that they never had seen. He would claim to have
+been in the endless forests and on the treeless plains and to have
+tasted the salt ocean and drunk of the freshwater lakes and rivers.
+
+The children would have heard, in their lessons and from their elders,
+enough to know what he was talking about. Sometimes they would tire of
+it, and ask him to tell of the distant planets and their far-off suns.
+But this he would not do.
+
+"You already hear too much about them," he'd say. "I want you to know
+Earth. Your own country. The one planet on which these plastic-covered
+cities are unnecessary, where you can actually go out and roll on the
+grass."
+
+Then the children might ask, "What's grass?"
+
+But their fathers would pointedly say, "What about the radioactivity,
+Old Man?"
+
+"I'm alive," he'd reply. "There's no radioactivity out there."
+
+But they'd say, "How can we be sure? There are individual differences
+of susceptibility. Probably you are unhurt by dosages that would kill
+any normal person."
+
+And the mothers would say, "Eat some more, Old Man. Eat--and go. Bring
+our babies dreams, if you like, but don't try to tempt them Outside.
+Even if it isn't radioactive there, you've admitted it gets hot and it
+gets cold and the wind blows fiercely hard. Our babies were born under
+shelter, and under shelter they must stay, like us and our parents
+before us."
+
+So Old Arch would brush off his whiskers one last time and maybe put on
+an old shirt the father dug up for him and then go out the back way. In
+spite of what might have been said, he would have to walk the twenty
+flights down to the ground because he wouldn't be invited to walk
+through the apartment to the front hall where the elevator was.
+
+Sometimes people were hostile when he spoke to their children, and they
+would have him arrested. He was then bathed and barbered in the jail,
+and was given all new clothes. But they'd always burn his bed, and he'd
+have trouble getting a new one. And sometimes a jailor might covet the
+pocketknife he carried, or take away his billy can. On the whole I
+think he preferred not to go to jail except perhaps in winter, when it
+was cold outside the City.
+
+There were always those ready to talk of asylums, and the need to
+put him away for his own good. But nobody was sure where his legal
+residence was, so he wasn't really eligible for public hospitalization.
+
+He kept to his rounds. My grandfather remembers standing in his
+mother's kitchen listening to Old Arch. It was like meeting one of
+Joseph's brethren and being told exactly what the coat looked like.
+Something exciting out of a dream from the remote past, when all the
+worlds had on them those bright moist diamonds Arch described as
+morning dew.
+
+My grandfather wanted to see the morning dew, though he knew better
+than to say so.
+
+Old Arch understood. He tried to make the thing possible. But an
+opportunity to see the morning dew was something he just couldn't give
+to my grandfather or anybody else.
+
+So he decided to sell it.
+
+He persuaded a charitable lithographer to make him a batch of stock
+certificates. They looked very authentic. Each said plainly it was good
+for one share of blue sky, though the fat half-draped woman portrayed
+in three colors stood outside a Domed City pointing not at the sky but
+at a distant river with forested hills behind it.
+
+Arch sold his certificates for a stiff price; ten dollars apiece. He
+could do it because by this time his wanderings followed a fairly
+definite route. The people who hated or feared or despised him
+were pretty well eliminated from it, and most of his calls were at
+apartments where he was known and expected and even respected a little.
+
+My grandfather's was one of these--or rather, my great-grandfather's.
+When Arch first brought his stock certificates my grandfather was a
+little fellow everybody called Ham, maybe seven years old. He had a
+sister named Annie who was five. He's given me a mental picture of the
+two of them standing close together for reassurance, and from an open
+doorway shyly watching the old man eat and listening to him talk.
+
+When my great-grandfather bought a ten dollar stock certificate in my
+grandfather's name, my grandfather took it as a promise. And his little
+sister Annie was so jealous that the next time Old Arch came around my
+great-grandfather had to buy a share for her.
+
+ * * * * *
+
+As they grew to be nine, ten, eleven, twelve, every winter when Old
+Arch would come around, my grandfather and his sister Annie would ask,
+"When are you going to take us to see the sky, Arch?" And he would say,
+"When you're older. When your folks say you can go." And, "When it's
+summer, and not too cold for these old bones."
+
+But when my grandfather was fourteen he followed Old Arch out and down
+the stairs after the old man had paid his annual call, and he stopped
+him on a landing to ask, "Arch, have you ever taken anyone Outside?"
+
+"No," Arch said, sighing. "People won't go."
+
+"I'll go," said my grandfather, "and so will my sister Annie."
+
+Arch looked at him and put a hand on him and said, "I don't want to
+come between any boy and his parents."
+
+"Well," said my grandfather, "you sold them a share of sky for each of
+us. Do you really want us to have that, or do you just want to talk
+about it?"
+
+"Of course I want you to. But I can't take you Outside, boy."
+
+My grandfather was disgusted. "There isn't any sky," he said sadly.
+"It's all talk. The certificates were just for begging."
+
+"No," said Arch. "It's not all talk and I'm not a beggar. I'm a guide.
+But it's hard to see the sky right now because it's winter, and there
+are clouds all over."
+
+"Let's see the clouds, then," my grandfather said stubbornly. "I've
+never seen a cloud."
+
+The old man sat down on the stairs to consider the matter.
+
+"I can't do this thing to your parents," he said at last.
+
+"But you can do it to me and my sister," my grandfather charged wildly.
+"You can come to the house year after year after year, and tell us
+about the sky and the wind and the moon and the dew and the grass and
+the sun. You can even take money for our share of them. But when it
+comes time to produce--when we're old enough to go where these things
+are supposed to be--you think of excuses.
+
+"I don't believe there are any such things," he shouted. "I think
+you're a liar. I think you ought to be arrested for gypping my dad on
+the stock deal, and I'm going to turn you in."
+
+"Don't do that, boy," Arch said mildly.
+
+"Then take us Outside--today!"
+
+"It's winter, my boy. We'd freeze."
+
+"You've said it's pretty in winter! You took the money for the
+certificate."
+
+"I suppose you'll grow away from your parents soon anyhow; I suppose
+you have to.... Get your warmest clothes and meet me at emergency exit
+four."
+
+My grandfather talked it over with his sister Annie and of course they
+didn't have any warm clothes, but they'd heard so often from Old Arch
+about the cold that they put on two sets of tights apiece, and two
+pairs of sox, and then they hunted for the emergency exit.
+
+They'd never been there before. They didn't know anyone who had. The
+signs pointing to it were all worn and defaced.
+
+And it was a long way to go. After a while Annie began to hang back.
+
+"How do we know the exit will work?" she asked. "And how will we get
+back in if we ever do get out?"
+
+"You don't have to come," my grandfather said. "But you'll have to find
+your own way home from here."
+
+"I'll bet I could," she said. "But I'm not going to. I don't think Old
+Arch will even be at the exit."
+
+But he was.
+
+He looked at them carefully to see how they were dressed. "You mean
+trouble for me, girl," he told Annie. "They'll think I took you along
+to make love to."
+
+She had just reached that betwixt and between stage where she was
+beginning to look like a woman but didn't yet think like one. "Pooh!"
+she said. "I can run faster and hit harder than you can, Arch. You
+don't worry me a bit."
+
+Old Arch sighed and led them through the lock. They stepped out into a
+raging snowstorm, which soon draped a cloak of invisibility over them.
+
+Neither my grandfather nor Annie had ever smelled fresh air before. It
+threatened to make them drunk. Their nostrils tingled and their eyes
+misted over and their breath steamed up like bathwater. For the first
+time in their lives, they shivered.
+
+When the City was out of sight in the storm, they stopped for a moment
+in the ankle-deep snow and just listened. They held their breaths and
+heard silence for the first time in their lives.
+
+Old Arch reached down and picked up some soft snow and threw it at
+them. They pelted him back, and then, because he was so old, attacked
+each other instead, shouting and throwing snowballs and running
+aimlessly.
+
+Old Arch soon checked them. "Don't get lost," he said. "We're walking
+down hill. Don't forget that. We're going into a draw where there are
+some trees."
+
+He coughed and drew his rags about him. "The city is up hill," he said.
+"If you keep walking around it you'll find a way in."
+
+His tone was frightening. Annie clung to my grandfather and made him
+walk close to the old man. It was clear the old man didn't have enough
+clothes on. He staggered and leaned hard on my grandfather.
+
+They kept moving down the slight grade. They saw no sky and little of
+anything else. The snow was like a miniature of the City's Dome, except
+that this dome floated over them as they walked. Its edges were only
+about fifty yards off.
+
+"Where are the Outsiders?" my grandfather asked. "Aren't there people
+here?"
+
+"They're miles away," Arch told him. "And indoors. Only fools and
+youngsters are out in this blizzard."
+
+"Fools is right," Annie said tartly. "There was supposed to be sky. And
+there isn't."
+
+Old Arch staggered again. To my grandfather he said, "Could--could you
+carry my pack?"
+
+My grandfather took it and they went on, stumbling blindly through
+knee-deep drifts, getting more and more chilled and less and less
+comfortable, 'til they came to a small clump of trees with a solidly
+frozen creek running through it.
+
+Here Old Arch made a lean-to shelter of windfallen limbs. Annie and my
+grandfather helped as soon as they understood the design. Arch spread
+part of his bed over the lean-to, breaking the force of the wind, and
+put the rest inside. Just outside, on a place scraped bare of snow, he
+built the first wood fire my grandfather and Annie had ever seen.
+
+He chipped ice from the creek and put it in his billy can and hung the
+can by its bail over the fire, and in due course they had a little hot
+tea.
+
+The youngsters felt cold but happy. The old man shivered and coughed.
+
+He'd kept moving till the tea was made. He sat still to drink it, and
+couldn't get up.
+
+"Go to bed," Annie told him. "Ham will get on one side of you and I'll
+get on the other. We'll keep you warm."
+
+Old Arch tried to protest but was almost beyond speech. The youngsters
+didn't know enough to brush the snow off him or themselves. They helped
+him roll up in his bedding and crawled under the lean-to after him.
+There they all lay in a heap, getting colder and damper and more
+miserable, till finally my grandfather couldn't stand it any more.
+
+He got up and looked around. The inverted cup of visibility was
+smaller. Darkness fell like a dye-stuff, turning the white snow to
+gray, to black.
+
+It was a bitter night. The first he'd ever had outdoors. It was the
+first Annie'd ever had. The first either had ever spent at the futile
+task of holding off death.
+
+They knew Old Arch was dying. As the night wore on he sank into
+semi-consciousness. They hugged him and rubbed his lean old limbs.
+
+Just before morning the snow stopped. The old man roused a little,
+became gradually aware of his surroundings.
+
+"Go look at the sun," he murmured. "Go see the sunrise."
+
+They went out to look. Neither had ever seen a sunrise before. It was
+mauve first, then red, then gold, then blue. Venus led the way, and the
+sun followed. The moon, deep in the west, was like a tombstone to the
+dead night.
+
+A bird chirruped. A clot of snow fell from a tree with a soft ruffle of
+cottony drums.
+
+My grandfather held his sister's hand and looked and sniffed at the
+great Earth from which he'd been separated by the fear-inspired plastic
+over his City, so near, now, in the clear morning light. He climbed
+with Annie up the side of the draw and looked out over snow-covered
+plains stretching to a horizon farther away than the longest distance
+he'd ever imagined.
+
+He went back and took Old Arch's head up on his knees and said, "Is it
+like this every day?"
+
+And the old man said, "No, each day is different."
+
+And my grandfather said, "Well, I've seen one, anyhow."
+
+"That's what I've lived for," said Old Arch. And he smiled and stopped
+living.
+
+Annie and my grandfather left him there and went back to the City and
+told the guards and their family. A burial party was sent out; guards,
+in their helmeted spacesuits.
+
+People heard about it and followed. Everyone was curious because
+they'd all seen Old Arch and wondered about him.
+
+Hundreds of people went out the gate--so many, the guards couldn't stop
+them. They saw the lean-to and the open fire and the woods and the snow
+and the frozen creek. They smelled the air and the smoke. They heard a
+bird. They tossed snowballs.
+
+And then they went back and flung rocks through their City's Dome.
+
+
+
+
+
+End of the Project Gutenberg EBook of Seller of the Sky, by Dave Dryfoos
+
+*** END OF THE PROJECT GUTENBERG EBOOK 58995 ***
diff --git a/58995-8.txt b/58995-8.txt
deleted file mode 100644
index 093fc62..0000000
--- a/58995-8.txt
+++ /dev/null
@@ -1,815 +0,0 @@
-The Project Gutenberg EBook of Seller of the Sky, by Dave Dryfoos
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Seller of the Sky
-
-Author: Dave Dryfoos
-
-Release Date: March 1, 2019 [EBook #58995]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SELLER OF THE SKY ***
-
-
-
-
-Produced by Greg Weeks, Mary Meehan and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-
-
-
-
-
-
-
- SELLER OF THE SKY
-
- BY DAVE DRYFOOS
-
- _No one took Old Arch seriously; he was just an
- ancient, broken-down wanderer who went about seeking
- alms and spreading tales of the great Outside. But
- sometimes children are curious and believing when
- adults are cynical and doubting...._
-
- [Transcriber's Note: This etext was produced from
- Worlds of If Science Fiction, February 1955.
- Extensive research did not uncover any evidence that
- the U.S. copyright on this publication was renewed.]
-
-
-There have always been the touched, the blessés, God's poor. Such a one
-was Old Arch. Archer Jakes, the Wanderer of the Plains.
-
-They say he was born on Earth in 3042 and taken to Mazzeppa as a child.
-That he learned pilotage and mining. But that he was injured in a
-cave-in on Hurretni in 3068 or thereabouts, and then his wife died in a
-landing accident and his child was taken from him and adopted by people
-he never could find.
-
-Those things are too far distant in time and space to be verified now.
-But it is a fact that by 4000, when my grandfather Hockington Hammer
-was growing up in New Oshkosh, Old Arch was a familiar figure in all
-the Domed Cities of the Plains.
-
-He looked ancient then, with his deformed back that people touched for
-luck, and his wild hair and beard, and ragged castoff clothing. On his
-back he carried a roll of cloth he called his bed, though it looked
-like no bed any City man had ever seen. In his right hand he carried
-a staff of wood, unless someone bought it from him and gave him a
-plastic rod in its place. And in his left he carried what he called a
-billy can, which was a food container with a loop of wire across the
-top for a handle, and the bottom blackened by what he said was fire.
-
-It would have been like no fire any City man had ever seen. Even the
-water in the can would be poison to a City man. When he came in the
-airlocks the guards would make him throw it away.
-
-"Why the lock?" he'd demand, coming into a City. "Why the lock and why
-the plastic bubble over all and why the guards? There's no pollution.
-Am I not alive?"
-
-The guards would touch his hump and make circular motions at the sides
-of their heads and raise their eyebrows as if to say, "Yes, you're
-alive. But are you not crazy?"
-
-Still they would admit him, the only nonresident to walk between the
-Domed Cities of the Plains and enter all of them; the only man to pass
-unharmed through the camps of the Outsiders who lived in the open on
-the Plains at the heart of the North American Continent of Earth.
-
-And Old Arch would go to the residence buildings and he'd knock on
-someone's door--any door, chosen at random--and he'd say, "Have you
-seen the sky and do you know it's blue? Have you felt the soft kiss of
-the breezes? I can show you where to breathe fresh air."
-
-Maybe the people would say, "Phew! Does it smell like you, this fresh
-air?" and slam the door in his face.
-
-Or maybe they'd say, "Come on around to the back, Old Man, and we'll
-find you something to eat."
-
-Then Old Arch would shoulder his bed and pick up his billy can and his
-staff and walk down the stairs and go around to the back and walk up
-the stairs to the rear door.
-
-It might be an hour before he appeared there--it might be two. When he
-did, the people would ask, "Why didn't you say something? You should
-have known they wouldn't let you in the elevator! And twenty flights
-down and twenty flights up again is too much for a man of your years."
-
-Then, the next time he came they would do the same thing again.
-
-In the kitchen he would refuse all the pills and potions and shots, and
-insist on bulky foods. These he would eat neatly, holding aside the
-long white hair around his mouth and brushing the crumbs from it often.
-What he couldn't eat right away would go into his blackened billy can.
-
-The children would come before he finished--those of the household,
-and neighbor kids too. First they'd stand shyly and watch him from a
-doorway. Then they'd press closer. By the time he got through they'd
-be fighting to sit on his lap.
-
-The winner would climb up and sit there proudly. One of the losers,
-trying to prove he hadn't lost much, might wrinkle up his nose and say,
-"What's that awful stink, Old Man?"
-
-And Arch would answer mildly, "It's only wood smoke, son."
-
-Then the children would ask, "What's wood, please? And what's smoke?"
-
-And he would tell them.
-
-He would tell of the wind and the rain and the snow; of the cattalo
-herds that roamed to the west and the cities that lay to the east and
-the stars and the Moon that they never had seen. He would claim to have
-been in the endless forests and on the treeless plains and to have
-tasted the salt ocean and drunk of the freshwater lakes and rivers.
-
-The children would have heard, in their lessons and from their elders,
-enough to know what he was talking about. Sometimes they would tire of
-it, and ask him to tell of the distant planets and their far-off suns.
-But this he would not do.
-
-"You already hear too much about them," he'd say. "I want you to know
-Earth. Your own country. The one planet on which these plastic-covered
-cities are unnecessary, where you can actually go out and roll on the
-grass."
-
-Then the children might ask, "What's grass?"
-
-But their fathers would pointedly say, "What about the radioactivity,
-Old Man?"
-
-"I'm alive," he'd reply. "There's no radioactivity out there."
-
-But they'd say, "How can we be sure? There are individual differences
-of susceptibility. Probably you are unhurt by dosages that would kill
-any normal person."
-
-And the mothers would say, "Eat some more, Old Man. Eat--and go. Bring
-our babies dreams, if you like, but don't try to tempt them Outside.
-Even if it isn't radioactive there, you've admitted it gets hot and it
-gets cold and the wind blows fiercely hard. Our babies were born under
-shelter, and under shelter they must stay, like us and our parents
-before us."
-
-So Old Arch would brush off his whiskers one last time and maybe put on
-an old shirt the father dug up for him and then go out the back way. In
-spite of what might have been said, he would have to walk the twenty
-flights down to the ground because he wouldn't be invited to walk
-through the apartment to the front hall where the elevator was.
-
-Sometimes people were hostile when he spoke to their children, and they
-would have him arrested. He was then bathed and barbered in the jail,
-and was given all new clothes. But they'd always burn his bed, and he'd
-have trouble getting a new one. And sometimes a jailor might covet the
-pocketknife he carried, or take away his billy can. On the whole I
-think he preferred not to go to jail except perhaps in winter, when it
-was cold outside the City.
-
-There were always those ready to talk of asylums, and the need to
-put him away for his own good. But nobody was sure where his legal
-residence was, so he wasn't really eligible for public hospitalization.
-
-He kept to his rounds. My grandfather remembers standing in his
-mother's kitchen listening to Old Arch. It was like meeting one of
-Joseph's brethren and being told exactly what the coat looked like.
-Something exciting out of a dream from the remote past, when all the
-worlds had on them those bright moist diamonds Arch described as
-morning dew.
-
-My grandfather wanted to see the morning dew, though he knew better
-than to say so.
-
-Old Arch understood. He tried to make the thing possible. But an
-opportunity to see the morning dew was something he just couldn't give
-to my grandfather or anybody else.
-
-So he decided to sell it.
-
-He persuaded a charitable lithographer to make him a batch of stock
-certificates. They looked very authentic. Each said plainly it was good
-for one share of blue sky, though the fat half-draped woman portrayed
-in three colors stood outside a Domed City pointing not at the sky but
-at a distant river with forested hills behind it.
-
-Arch sold his certificates for a stiff price; ten dollars apiece. He
-could do it because by this time his wanderings followed a fairly
-definite route. The people who hated or feared or despised him
-were pretty well eliminated from it, and most of his calls were at
-apartments where he was known and expected and even respected a little.
-
-My grandfather's was one of these--or rather, my great-grandfather's.
-When Arch first brought his stock certificates my grandfather was a
-little fellow everybody called Ham, maybe seven years old. He had a
-sister named Annie who was five. He's given me a mental picture of the
-two of them standing close together for reassurance, and from an open
-doorway shyly watching the old man eat and listening to him talk.
-
-When my great-grandfather bought a ten dollar stock certificate in my
-grandfather's name, my grandfather took it as a promise. And his little
-sister Annie was so jealous that the next time Old Arch came around my
-great-grandfather had to buy a share for her.
-
- * * * * *
-
-As they grew to be nine, ten, eleven, twelve, every winter when Old
-Arch would come around, my grandfather and his sister Annie would ask,
-"When are you going to take us to see the sky, Arch?" And he would say,
-"When you're older. When your folks say you can go." And, "When it's
-summer, and not too cold for these old bones."
-
-But when my grandfather was fourteen he followed Old Arch out and down
-the stairs after the old man had paid his annual call, and he stopped
-him on a landing to ask, "Arch, have you ever taken anyone Outside?"
-
-"No," Arch said, sighing. "People won't go."
-
-"I'll go," said my grandfather, "and so will my sister Annie."
-
-Arch looked at him and put a hand on him and said, "I don't want to
-come between any boy and his parents."
-
-"Well," said my grandfather, "you sold them a share of sky for each of
-us. Do you really want us to have that, or do you just want to talk
-about it?"
-
-"Of course I want you to. But I can't take you Outside, boy."
-
-My grandfather was disgusted. "There isn't any sky," he said sadly.
-"It's all talk. The certificates were just for begging."
-
-"No," said Arch. "It's not all talk and I'm not a beggar. I'm a guide.
-But it's hard to see the sky right now because it's winter, and there
-are clouds all over."
-
-"Let's see the clouds, then," my grandfather said stubbornly. "I've
-never seen a cloud."
-
-The old man sat down on the stairs to consider the matter.
-
-"I can't do this thing to your parents," he said at last.
-
-"But you can do it to me and my sister," my grandfather charged wildly.
-"You can come to the house year after year after year, and tell us
-about the sky and the wind and the moon and the dew and the grass and
-the sun. You can even take money for our share of them. But when it
-comes time to produce--when we're old enough to go where these things
-are supposed to be--you think of excuses.
-
-"I don't believe there are any such things," he shouted. "I think
-you're a liar. I think you ought to be arrested for gypping my dad on
-the stock deal, and I'm going to turn you in."
-
-"Don't do that, boy," Arch said mildly.
-
-"Then take us Outside--today!"
-
-"It's winter, my boy. We'd freeze."
-
-"You've said it's pretty in winter! You took the money for the
-certificate."
-
-"I suppose you'll grow away from your parents soon anyhow; I suppose
-you have to.... Get your warmest clothes and meet me at emergency exit
-four."
-
-My grandfather talked it over with his sister Annie and of course they
-didn't have any warm clothes, but they'd heard so often from Old Arch
-about the cold that they put on two sets of tights apiece, and two
-pairs of sox, and then they hunted for the emergency exit.
-
-They'd never been there before. They didn't know anyone who had. The
-signs pointing to it were all worn and defaced.
-
-And it was a long way to go. After a while Annie began to hang back.
-
-"How do we know the exit will work?" she asked. "And how will we get
-back in if we ever do get out?"
-
-"You don't have to come," my grandfather said. "But you'll have to find
-your own way home from here."
-
-"I'll bet I could," she said. "But I'm not going to. I don't think Old
-Arch will even be at the exit."
-
-But he was.
-
-He looked at them carefully to see how they were dressed. "You mean
-trouble for me, girl," he told Annie. "They'll think I took you along
-to make love to."
-
-She had just reached that betwixt and between stage where she was
-beginning to look like a woman but didn't yet think like one. "Pooh!"
-she said. "I can run faster and hit harder than you can, Arch. You
-don't worry me a bit."
-
-Old Arch sighed and led them through the lock. They stepped out into a
-raging snowstorm, which soon draped a cloak of invisibility over them.
-
-Neither my grandfather nor Annie had ever smelled fresh air before. It
-threatened to make them drunk. Their nostrils tingled and their eyes
-misted over and their breath steamed up like bathwater. For the first
-time in their lives, they shivered.
-
-When the City was out of sight in the storm, they stopped for a moment
-in the ankle-deep snow and just listened. They held their breaths and
-heard silence for the first time in their lives.
-
-Old Arch reached down and picked up some soft snow and threw it at
-them. They pelted him back, and then, because he was so old, attacked
-each other instead, shouting and throwing snowballs and running
-aimlessly.
-
-Old Arch soon checked them. "Don't get lost," he said. "We're walking
-down hill. Don't forget that. We're going into a draw where there are
-some trees."
-
-He coughed and drew his rags about him. "The city is up hill," he said.
-"If you keep walking around it you'll find a way in."
-
-His tone was frightening. Annie clung to my grandfather and made him
-walk close to the old man. It was clear the old man didn't have enough
-clothes on. He staggered and leaned hard on my grandfather.
-
-They kept moving down the slight grade. They saw no sky and little of
-anything else. The snow was like a miniature of the City's Dome, except
-that this dome floated over them as they walked. Its edges were only
-about fifty yards off.
-
-"Where are the Outsiders?" my grandfather asked. "Aren't there people
-here?"
-
-"They're miles away," Arch told him. "And indoors. Only fools and
-youngsters are out in this blizzard."
-
-"Fools is right," Annie said tartly. "There was supposed to be sky. And
-there isn't."
-
-Old Arch staggered again. To my grandfather he said, "Could--could you
-carry my pack?"
-
-My grandfather took it and they went on, stumbling blindly through
-knee-deep drifts, getting more and more chilled and less and less
-comfortable, 'til they came to a small clump of trees with a solidly
-frozen creek running through it.
-
-Here Old Arch made a lean-to shelter of windfallen limbs. Annie and my
-grandfather helped as soon as they understood the design. Arch spread
-part of his bed over the lean-to, breaking the force of the wind, and
-put the rest inside. Just outside, on a place scraped bare of snow, he
-built the first wood fire my grandfather and Annie had ever seen.
-
-He chipped ice from the creek and put it in his billy can and hung the
-can by its bail over the fire, and in due course they had a little hot
-tea.
-
-The youngsters felt cold but happy. The old man shivered and coughed.
-
-He'd kept moving till the tea was made. He sat still to drink it, and
-couldn't get up.
-
-"Go to bed," Annie told him. "Ham will get on one side of you and I'll
-get on the other. We'll keep you warm."
-
-Old Arch tried to protest but was almost beyond speech. The youngsters
-didn't know enough to brush the snow off him or themselves. They helped
-him roll up in his bedding and crawled under the lean-to after him.
-There they all lay in a heap, getting colder and damper and more
-miserable, till finally my grandfather couldn't stand it any more.
-
-He got up and looked around. The inverted cup of visibility was
-smaller. Darkness fell like a dye-stuff, turning the white snow to
-gray, to black.
-
-It was a bitter night. The first he'd ever had outdoors. It was the
-first Annie'd ever had. The first either had ever spent at the futile
-task of holding off death.
-
-They knew Old Arch was dying. As the night wore on he sank into
-semi-consciousness. They hugged him and rubbed his lean old limbs.
-
-Just before morning the snow stopped. The old man roused a little,
-became gradually aware of his surroundings.
-
-"Go look at the sun," he murmured. "Go see the sunrise."
-
-They went out to look. Neither had ever seen a sunrise before. It was
-mauve first, then red, then gold, then blue. Venus led the way, and the
-sun followed. The moon, deep in the west, was like a tombstone to the
-dead night.
-
-A bird chirruped. A clot of snow fell from a tree with a soft ruffle of
-cottony drums.
-
-My grandfather held his sister's hand and looked and sniffed at the
-great Earth from which he'd been separated by the fear-inspired plastic
-over his City, so near, now, in the clear morning light. He climbed
-with Annie up the side of the draw and looked out over snow-covered
-plains stretching to a horizon farther away than the longest distance
-he'd ever imagined.
-
-He went back and took Old Arch's head up on his knees and said, "Is it
-like this every day?"
-
-And the old man said, "No, each day is different."
-
-And my grandfather said, "Well, I've seen one, anyhow."
-
-"That's what I've lived for," said Old Arch. And he smiled and stopped
-living.
-
-Annie and my grandfather left him there and went back to the City and
-told the guards and their family. A burial party was sent out; guards,
-in their helmeted spacesuits.
-
-People heard about it and followed. Everyone was curious because
-they'd all seen Old Arch and wondered about him.
-
-Hundreds of people went out the gate--so many, the guards couldn't stop
-them. They saw the lean-to and the open fire and the woods and the snow
-and the frozen creek. They smelled the air and the smoke. They heard a
-bird. They tossed snowballs.
-
-And then they went back and flung rocks through their City's Dome.
-
-
-
-
-
-End of the Project Gutenberg EBook of Seller of the Sky, by Dave Dryfoos
-
-*** END OF THIS PROJECT GUTENBERG EBOOK SELLER OF THE SKY ***
-
-***** This file should be named 58995-8.txt or 58995-8.zip *****
-This and all associated files of various formats will be found in:
- http://www.gutenberg.org/5/8/9/9/58995/
-
-Produced by Greg Weeks, Mary Meehan and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for the eBooks, unless you receive
-specific permission. If you do not charge anything for copies of this
-eBook, complying with the rules is very easy. You may use this eBook
-for nearly any purpose such as creation of derivative works, reports,
-performances and research. They may be modified and printed and given
-away--you may do practically ANYTHING in the United States with eBooks
-not protected by U.S. copyright law. Redistribution is subject to the
-trademark license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country outside the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
- This eBook is for the use of anyone anywhere in the United States and
- most other parts of the world at no cost and with almost no
- restrictions whatsoever. You may copy it, give it away or re-use it
- under the terms of the Project Gutenberg License included with this
- eBook or online at www.gutenberg.org. If you are not located in the
- United States, you'll have to check the laws of the country where you
- are located before using this ebook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm web site
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that
-
-* You pay a royalty fee of 20% of the gross profits you derive from
- the use of Project Gutenberg-tm works calculated using the method
- you already use to calculate your applicable taxes. The fee is owed
- to the owner of the Project Gutenberg-tm trademark, but he has
- agreed to donate royalties under this paragraph to the Project
- Gutenberg Literary Archive Foundation. Royalty payments must be paid
- within 60 days following each date on which you prepare (or are
- legally required to prepare) your periodic tax returns. Royalty
- payments should be clearly marked as such and sent to the Project
- Gutenberg Literary Archive Foundation at the address specified in
- Section 4, "Information about donations to the Project Gutenberg
- Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
- you in writing (or by e-mail) within 30 days of receipt that s/he
- does not agree to the terms of the full Project Gutenberg-tm
- License. You must require such a user to return or destroy all
- copies of the works possessed in a physical medium and discontinue
- all use of and all access to other copies of Project Gutenberg-tm
- works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
- any money paid for a work or a replacement copy, if a defect in the
- electronic work is discovered and reported to you within 90 days of
- receipt of the work.
-
-* You comply with all other terms of this agreement for free
- distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from both the Project Gutenberg Literary Archive Foundation and The
-Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
-trademark. Contact the Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-
-
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's principal office is in Fairbanks, Alaska, with the
-mailing address: PO Box 750175, Fairbanks, AK 99775, but its
-volunteers and employees are scattered throughout numerous
-locations. Its business office is located at 809 North 1500 West, Salt
-Lake City, UT 84116, (801) 596-1887. Email contact links and up to
-date contact information can be found at the Foundation's web site and
-official page at www.gutenberg.org/contact
-
-For additional contact information:
-
- Dr. Gregory B. Newby
- Chief Executive and Director
- gbnewby@pglaf.org
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works.
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our Web site which has the main PG search
-facility: www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-
diff --git a/58995-h/58995-h.htm b/58995-h/58995-h.htm
index 1d5d985..716566a 100644
--- a/58995-h/58995-h.htm
+++ b/58995-h/58995-h.htm
@@ -74,41 +74,7 @@ div.titlepage p {
<body>
-<pre>
-
-The Project Gutenberg EBook of Seller of the Sky, by Dave Dryfoos
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Seller of the Sky
-
-Author: Dave Dryfoos
-
-Release Date: March 1, 2019 [EBook #58995]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SELLER OF THE SKY ***
-
-
-
-
-Produced by Greg Weeks, Mary Meehan and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-
-
-
-
-</pre>
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 58995 ***</div>
<div class="figcenter">
@@ -549,379 +515,7 @@ bird. They tossed snowballs.</p>
-<pre>
-
-
-
-
-
-End of the Project Gutenberg EBook of Seller of the Sky, by Dave Dryfoos
-
-*** END OF THIS PROJECT GUTENBERG EBOOK SELLER OF THE SKY ***
-
-***** This file should be named 58995-h.htm or 58995-h.zip *****
-This and all associated files of various formats will be found in:
- http://www.gutenberg.org/5/8/9/9/58995/
-
-Produced by Greg Weeks, Mary Meehan and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for the eBooks, unless you receive
-specific permission. If you do not charge anything for copies of this
-eBook, complying with the rules is very easy. You may use this eBook
-for nearly any purpose such as creation of derivative works, reports,
-performances and research. They may be modified and printed and given
-away--you may do practically ANYTHING in the United States with eBooks
-not protected by U.S. copyright law. Redistribution is subject to the
-trademark license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country outside the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
- This eBook is for the use of anyone anywhere in the United States and
- most other parts of the world at no cost and with almost no
- restrictions whatsoever. You may copy it, give it away or re-use it
- under the terms of the Project Gutenberg License included with this
- eBook or online at www.gutenberg.org. If you are not located in the
- United States, you'll have to check the laws of the country where you
- are located before using this ebook.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm web site
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that
-
-* You pay a royalty fee of 20% of the gross profits you derive from
- the use of Project Gutenberg-tm works calculated using the method
- you already use to calculate your applicable taxes. The fee is owed
- to the owner of the Project Gutenberg-tm trademark, but he has
- agreed to donate royalties under this paragraph to the Project
- Gutenberg Literary Archive Foundation. Royalty payments must be paid
- within 60 days following each date on which you prepare (or are
- legally required to prepare) your periodic tax returns. Royalty
- payments should be clearly marked as such and sent to the Project
- Gutenberg Literary Archive Foundation at the address specified in
- Section 4, "Information about donations to the Project Gutenberg
- Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
- you in writing (or by e-mail) within 30 days of receipt that s/he
- does not agree to the terms of the full Project Gutenberg-tm
- License. You must require such a user to return or destroy all
- copies of the works possessed in a physical medium and discontinue
- all use of and all access to other copies of Project Gutenberg-tm
- works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
- any money paid for a work or a replacement copy, if a defect in the
- electronic work is discovered and reported to you within 90 days of
- receipt of the work.
-
-* You comply with all other terms of this agreement for free
- distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from both the Project Gutenberg Literary Archive Foundation and The
-Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
-trademark. Contact the Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org
-
-
-
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's principal office is in Fairbanks, Alaska, with the
-mailing address: PO Box 750175, Fairbanks, AK 99775, but its
-volunteers and employees are scattered throughout numerous
-locations. Its business office is located at 809 North 1500 West, Salt
-Lake City, UT 84116, (801) 596-1887. Email contact links and up to
-date contact information can be found at the Foundation's web site and
-official page at www.gutenberg.org/contact
-
-For additional contact information:
-
- Dr. Gregory B. Newby
- Chief Executive and Director
- gbnewby@pglaf.org
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works.
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our Web site which has the main PG search
-facility: www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-
-
-
-</pre>
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 58995 ***</div>
</body>
</html>