summaryrefslogtreecommitdiff
diff options
context:
space:
mode:
authornfenwick <nfenwick@pglaf.org>2025-01-22 19:59:33 -0800
committernfenwick <nfenwick@pglaf.org>2025-01-22 19:59:33 -0800
commita55fddf61d27d134c986d2cbcdfb9cc78869ce2d (patch)
tree0bccf7e275e0c5b113010fc5189d9fb842af505a
parent9e7bf1f35760c4fb2f22da6d388443fc9b758ab2 (diff)
NormalizeHEADmain
-rw-r--r--.gitattributes4
-rw-r--r--LICENSE.txt11
-rw-r--r--README.md2
-rw-r--r--old/65936-0.txt727
-rw-r--r--old/65936-0.zipbin14640 -> 0 bytes
-rw-r--r--old/65936-h.zipbin1217729 -> 0 bytes
-rw-r--r--old/65936-h/65936-h.htm905
-rw-r--r--old/65936-h/images/cover.jpgbin1030375 -> 0 bytes
-rw-r--r--old/65936-h/images/illus.jpgbin174455 -> 0 bytes
9 files changed, 17 insertions, 1632 deletions
diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..d7b82bc
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,4 @@
+*.txt text eol=lf
+*.htm text eol=lf
+*.html text eol=lf
+*.md text eol=lf
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..1b8ea6b
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #65936 (https://www.gutenberg.org/ebooks/65936)
diff --git a/old/65936-0.txt b/old/65936-0.txt
deleted file mode 100644
index 555d721..0000000
--- a/old/65936-0.txt
+++ /dev/null
@@ -1,727 +0,0 @@
-The Project Gutenberg eBook of Wanderlust, by Alan E. Nourse
-
-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
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: Wanderlust
-
-Author: Alan E. Nourse
-
-Release Date: July 28, 2021 [eBook #65936]
-
-Language: English
-
-Character set encoding: UTF-8
-
-Produced by: Greg Weeks, Mary Meehan and the Online Distributed
- Proofreading Team at http://www.pgdp.net
-
-*** START OF THE PROJECT GUTENBERG EBOOK WANDERLUST ***
-
-
-
-
- Tad, like other young men, looked to the
- spaceways for adventure. But George Barlow, like
- other fathers, knew that disaster would end his--
-
- WANDERLUST
-
- By Alan E. Nourse
-
- [Transcriber's Note: This etext was produced from
- Imagination Stories of Science and Fantasy
- October 1952
- Extensive research did not uncover any evidence that
- the U.S. copyright on this publication was renewed.]
-
-
-Somehow George Barlow had sensed that something was wrong the moment
-his son drove into the barnyard that evening. He had been waiting
-impatiently for Tad's return all afternoon; the men needed those
-tractor bolts before they could do the mowing. But George had felt the
-uneasiness, quite suddenly, deep in his chest when he heard the boy's
-three-wheeler chugging up the rutted country road from town.
-
-He sat quietly, waiting, stroking old Snuffy behind the ears. He heard
-the little motor-car pop into silence as Tad drove it into the garage;
-then there was a long silence. George waited several minutes before
-running a hand through his tawny hair. "What's that boy doing out
-there, anyway?" he growled.
-
-Florence Barlow glanced up through the kitchen window. "He's gone up on
-the ridge," she said. "He's just standing up there, looking down the
-valley." She turned back to the stove, pushing back an unruly whisp of
-graying hair.
-
-George sat back in his chair, puffing his pipe, the uneasiness growing.
-Tad was usually back from town hours earlier. The oats had to be
-cut this week--the shipment of Venusian _taaro_ was due from the next
-Rocket, and they had to have a field free for it. But still, he knew it
-was more than the tractor bolts that bothered him.
-
-Then suddenly the door burst open and Tad was there, filling the room
-with his broad shoulders, whistling tunelessly to himself. A cool east
-breeze followed him in the door, and with it an aura of excitement.
-Tad's sunbaked hair was wild from the ride through the wind, his sharp
-eyes sparkling:
-
-"Dad! The Rocket landed this afternoon. Out at Dillon's Landing. It's
-three weeks early this time!"
-
-A chill swept up George's spine, tingling his scalp. "Then we should
-get the _taaro_ in a couple of days," he said smoothly.
-
-"We should." Tad's eyes were bright as he patted the dog's head. His
-whole body seemed alive with excitement. "I walked up on the ridge to
-get a look at it, dad. It's a beauty--tall and slim--you should see it
-down there. It catches the sunset like you never saw before--"
-
-He was still talking as he walked out to the kitchen, stooping to kiss
-his mother on the forehead. "You ought to go up and take a look at it,
-mom--before the sun's gone."
-
-"I've got plenty to do without going to gawk at a Rocket ship," his
-mother's voice was sharp. "You have too, for that matter. Did you get
-the tractor bolts for your father?"
-
- * * * * *
-
-The boy frowned suddenly, and snapped his fingers. "Plumb forgot them.
-The ship was landing just as I got into town, so I went over to watch
-it--" he took his place opposite his father at the table, his face
-brightening again. He didn't see the cloud on his father's face. "And
-they let us go inside it to look around, dad. I never saw anything
-like it. You wouldn't believe that they could get such a ship off the
-ground. Why, even I can remember when it was all they could do to blast
-off with a little ten-man ship, and now--why, this one is like a yacht.
-It's the STAR KING, the newest one in Dillon's fleet."
-
-George Barlow scowled, the tightness in the pit of his stomach suddenly
-making his food tasteless. "That's lovely," he said sourly. "They can
-build them a mile long for all I care. They still aren't fit for rats.
-At least here you can wash your face if you want to--" He turned back
-to his plate, hoping the discussion was over, hoping--
-
-"But this one had complete showers, soft bunks, everything. Hydroponic
-tanks that make the experimental station look like pikers--"
-
-"Eat," said George.
-
-Tad lapsed into silence, the hearty silence of a hungry
-nineteen-year-old before a full dinner plate. His father took another
-mouthful and put down his fork, his appetite gone. He could feel the
-tension growing, the tightness of his breathing. He sensed his wife's
-apprehension as she too slowed and stopped eating. As if she, too,
-were waiting--
-
-"Saw Len Cooper when he came off the ship, too, dad. Do you remember
-Len? This was his first cruise." Tad's eyes sparkled. "He says there's
-nothing like it, that Rocket life. They stopped on Venus, you know, and
-then did a reconnaissance in toward the Mercury orbit before they came
-back. Almost five years away from Earth! They've got a stack of reports
-as big as an almanac for printing. And Len--you know how scrawny he
-was? He's put on muscle now. Looks great." Tad put down his fork, a
-subtle change in his voice, his hand trembling. "We had a long talk,
-dad. Len says--"
-
-"Len Cooper's a fool!" George Barlow's voice snapped irritably. "He
-hasn't got all his marbles. A kid like that--all the potential in the
-world--brains, opportunity--and what does he do with it? Shoots it into
-Rockets! First cruise, huh? It isn't his last, by a long shot. Those
-Rocket boys aren't stupid. They know it takes a good cruise to teach
-a youngster his way around out there. He can't begin to work for his
-wages until the second cruise, or the third. And then it's too late to
-come back--"
-
-Tad fiddled with his fork, his eyes down. The room was silent; even
-Florence sat tense, startled by the outburst. George sat glumly. That
-was stupid, he thought. Inexcusably stupid. You'll have to face it
-some day--you know that. Now? Maybe--oh, Lord, not now--maybe tomorrow.
-But what could you say? What if it _is_ now? His hand trembled as he
-fumbled awkwardly for his pipe. Where were the words, the phrases, the
-arguments, so long rehearsed, so sensible, so fatherly?
-
-"Dad."
-
-His fingers were like ice on the pipe bowl. Not tomorrow, then. Now.
-
-"Dad."
-
-"Yes, Tad."
-
-The boy looked straight at his father, his voice very low. "I'm going,
-dad," he said. "I'm going with it."
-
- * * * * *
-
-The chill widened in George Barlow's stomach, spreading into his legs
-and chest. He heard his wife's startled gasp, and the chill deepened.
-He searched for words, and no words came. How long, now, had he
-prepared, rehearsed? And now--nothing. He just sat there in the dead
-still room--
-
-"Well, I never heard anything more ridiculous in all my life!" Florence
-burst out finally. "You're crazy, Tad. Plumb crazy. Do you mean to sit
-there and say that you're going to give up college, throw away this
-farm?" She set the cream pitcher down with a thump. "It's out of the
-question. You just can't mean it."
-
-Tad wriggled uneasily. "I do mean it, mom. The STAR KING is signing up
-crew tomorrow. They have places for four novices, this time. They'll
-take me. I know they will. I--I asked this afternoon. I want to go."
-
-George Barlow gripped the edge of the table, fighting for control.
-"Don't be silly, boy," he said finally, his voice tight. "You're no
-Rocket man. You don't know what you're saying--" his hands trembled.
-"Space is no place for a fellow like you--you belong here, studying,
-working--not hopping around space like a common tramp." He tamped
-tobacco into his pipe bowl with an air of finality. "Every boy nowadays
-thinks about going to Space, I know. The fleets are growing larger,
-taking more and more boys--but the smart ones stay home."
-
-Tad's voice was low and quiet, more deadly firm than George had ever
-heard it. "You don't understand, dad. I know you don't like it--I
-know you think it's foolish not to finish college, you hate to see me
-leave home--but you don't understand." He looked up, his boyish face
-pale under deep summer tan. "I can't explain it, dad. Ever since I was
-little, since I saw my first Rocket shooting up into the sky toward
-the stars, I knew I had to go, too, sometime." He shook his head
-helplessly. "It's what I've wanted all my life, dad. I've _got_ to go."
-
-"But the farm, son--" Florence was almost in tears. "Doesn't that mean
-anything to you? Your family's been here for a hundred years, Tad.
-It's yours, as soon as you're ready to farm it. Don't you _care_ about
-it after all these years?"
-
-"You know I care, mom." The boy avoided her tearful eyes, ran a hand
-through his hair. "You know I like the place, and I feel awful running
-out after all the work you and dad and the men have put in, building
-it up--but I couldn't make a go of it. I don't want to be earth-bound,
-tied down to a piece of land all my life--"
-
-His mother's face was suddenly very, very tired. "Oh, you fool," she
-said, her voice bitter. "You don't know how you'll long for green
-grass again--" her face flared red in anger. "You've barely started to
-shave, and you want to go to Space. Well, it's nonsense! You can't do
-it, that's final. Tell him, George! Tell him why he can't go--tell him
-why--"
-
-"_Florence!_"
-
-She stopped short, eyes wide. "George, I'm sorry--"
-
-His voice was sharp, urgent. "I think--maybe Tad and I ought to talk
-this out--ourselves--"
-
-"I'm sorry, George." Florence Barlow rose silently. She began clearing
-the table, her eyes brimming.
-
-Tad's face was troubled. "I wish you wouldn't make a fuss, dad. I
-suppose it's a surprise to you both--"
-
-George smiled sourly. "Hardly. We've been around a while, Tad. We saw
-Len Cooper go, and a half-dozen like him. We knew you'd get the bug
-sooner or later. But you've got to understand why we can't allow it."
-
- * * * * *
-
-The room was silent, except for the faint rustling of the breeze
-through the curtains. "You don't know what you're walking into, Tad.
-None of you boys really know. You only see one side of the picture,
-the excitement and adventure. I know, it's a thrilling picture, but
-the thrill wears off, and then you have the long dull days of waiting,
-sitting, always waiting, with nothing to see but the bulkhead and a
-dozen men cramped into impossible tight quarters without any room to
-move around. You don't know how you'd get to hate those men, how you'd
-wish you could be alone for just a little while, how you'd long for
-privacy. And you don't realize the danger--not the exciting, bravado
-kind of danger that you read about, but the live, horrible danger of
-depending for your life on a little sliver of metal.
-
-"So many things can go wrong, and any one of them means you're through.
-Not a brave death, son, nor a heroic death--just a very lonely death,
-where you freeze and starve, and feel the life choke out of you. There
-are so many ways to die in Space, such horrible ways, so easily. And
-there isn't any reward worth the risk. It's all risk, and you have
-nothing for it. A few days of glory when you're back home, and then
-you're off again. Once you go, you're gone. You'll never come back.
-Only the lucky ones come back. You'll be in Space 'til it kills you."
-
-"But the colonies, dad. Mars Mountain, Player's Folly,
-Ironstone--they're all going concerns. They need men, lots of men, with
-ideas--men who aren't afraid of work--"
-
-"The colonies!" George Barlow's voice rose angrily, his control wearing
-thin. "Why the colonies? What glory can you see in working a lifetime
-to squeeze a living out of Mars rock? Scraping and fighting, squeezing
-every last drop of water, every possible inch of topsoil to dig up
-enough to keep barely alive--and then dying thirty years before your
-time? What can you see in that? Or Venus, where you sweat, and waste
-away, until the fungus gets into your lungs and blood, and you finally
-just go to sleep forever? You're crazy, Tad! You can't do it!"
-
-Tad shuffled his feet, his eyes downcast. "I knew you wouldn't
-understand. I can't explain it, dad--I don't know the words. But I've
-got to go, even if you don't--"
-
-George's face flushed in exasperation. "Now look. Just listen a minute.
-I understand perfectly, I just--"
-
-"_You don't understand!_" The boy's eyes blazed in sudden anger, his
-voice was bitter. "How _could_ you understand? You've been nothing but
-a slogging dirt farmer all your life! How could you understand why I'd
-want to go to the stars? What do you know about Mars, or Venus? _You've
-never been there!_"
-
-George Barlow sat stiff, as though he had been struck. The room was
-tense, and he heard the boy breathing across the room. "Then you give
-me no choice," he said finally, his voice suddenly tired and barely
-audible. "I'm your father. I forbid you to go."
-
-There was a long, silent moment. Then: "I'm sorry, dad. I'm going
-anyway."
-
- * * * * *
-
-George Barlow lay in bed, breathing quietly. The room was close, the
-air stuffy and humid. He heard his wife's steady breathing, peaceful
-now, after sobbing herself to sleep. And somehow, deep within him,
-he seemed to hear the steady pom-pom-pom of spaceship engines, deep,
-throaty, thrilling, throbbing, vibrating--
-
-Calling--
-
-He rose quietly and walked to the window. He heard Snuffy stir herself,
-heard her claws scrabbling on the bare farmhouse floor, and felt her
-warm muzzle, firm and comforting in his hand. Then he heard nothing but
-the buzzing of cicadas, the quiet night-sounds of the farm, smelled
-the cool, hearty odor of hay and clover, heard the occasional uneasy
-stomping of cattle in the barn. And still, deep in his mind, he heard
-older sounds, more familiar sounds, sounds tinged with fear, horror,
-hate, desperation--he shook his head, trying to forget, but there was
-excitement there, too, that intangible, overpowering thrill of the
-wanderlust--
-
-Memories flooded back into his mind, memories he had thought long ago
-blotted out and forgotten. The rich thrill of excitement as the last
-seconds crowded in close, with the strap cutting a deep welt across his
-chest--the muffled roar, the powerful sledge-hammer blow, driving his
-stomach and legs down like lead, then easing, easing gently into no
-pressure, then less than no pressure--the exhilarating, wonder-filled
-vision of the Earth rushing away, dwindling into a mottled patchwork,
-still dwindling--
-
-Oh, he understood, all right. He knew what tugged at his son's heels,
-he knew the consuming thrill, the insatiable hunger to reach higher
-and higher, to seek out unknown places. He knew the wonder of stepping
-on another land, an alien land, the thrill of watching two moons creep
-softly over a reddish horizon. He knew the deep, rich thrill of pushing
-the frontier outward until the sun winked coldly like another star.
-Memories flooded his mind, and he remembered too well the insistent tug
-of the wanderlust at his heels, the call of the open road, the call of
-space. And he knew that, try as he would, no Earth-bound answer would
-ever drive it away--
-
-Yes, he understood. But deep in his heart he felt the coldness, the
-pain and agony, the sense of bitter loss. He was one of the lucky. He
-had come back. Tad would never come back. The odds were too great,
-there were too few of the lucky. And it was better _not_ to be one of
-the lucky, better to die out there, forgotten, unmourned.
-
- * * * * *
-
-Maybe he should have told the boy while he was young, tried to teach
-him, to make him understand. Perhaps he'd been wrong to conceal it all
-these years, to lie to Tad, to make Florence conceal, too. Perhaps Tad
-should have been told--but even knowing that someday the wanderlust
-would come, he knew he couldn't have told him. Better to conceal, to
-wait for the contempt, wait to hear the words, short, bitter words:
-"_How could you ever understand? You've never been there_--"
-
-George felt the perspiration trickle down his neck. How could he
-explain the things he hardly dared think about himself? The fear, the
-bitterness, the horror? Tad would be sleeping now, peacefully, in his
-room, his bag half packed on the dresser, dreaming dreams of wonder
-in his sleep, and never dreaming for an instant of the terror, the
-pain--never knowing how hard a taskmaster the wanderlust could be, what
-terrible fees it could exact.
-
-He knew he couldn't fight it. He had known since Tad was born that it
-would be useless. For the young saw only what they wanted to see.
-
-And suddenly George was fumbling in his dresser drawer, frantically
-searching for the small oblong box, rushing, before he changed his
-mind. His hands closed on the small container, and its contents were
-cold between his fingers. And then he was in Tad's room, quietly,
-seeking the bag, half packed, a few meager clothes, a few meager
-memories to go away with a hopeful heart. He fumbled in the bag, and
-suddenly the memories closed in on George Barlow, and he was living
-again the horrible moments, the rumbling, jolting thunder in the
-bowels of the ship; the frantic scrambling down the dark passageways,
-the men, fear-crazed and tumbling over each other in free fall--the
-gleaming white-hot of the atomic fires gone wild; the screams of agony,
-the crashing, fiery groping through oven-like chambers, the twisting,
-wrenching of controls, fighting to stay alive, fighting in blazing
-agony, fire burning to the bottom of his soul--
-
-The little metal disc slipped into the boy's bag, down between a pair
-of pants and a book; a thin metal disc of pure gold, a simple symbol,
-with simple words: _To George L. Barlow, for Heroism in Space_--
-
-He dropped the disc into the boy's bag and stumbled back to his room.
-He sat in the silence stroking old Snuffy's soft muzzle, sat in
-darkness, eternal since that hour of terror, as tears streamed down
-scarred cheeks from his sightless eyes....
-
-*** END OF THE PROJECT GUTENBERG EBOOK WANDERLUST ***
-
-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 an eBook, except by following
-the terms of the trademark license, including paying royalties for use
-of the Project Gutenberg trademark. If you do not charge anything for
-copies of this eBook, complying with the trademark license is very
-easy. You may use this eBook for nearly any purpose such as creation
-of derivative works, reports, performances and research. Project
-Gutenberg eBooks 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 other than 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 will 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 website
-(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 the Project Gutenberg Literary Archive Foundation, the manager 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 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 website
-and official page at www.gutenberg.org/contact
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without
-widespread 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 website which has the main PG search
-facility: www.gutenberg.org
-
-This website 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/old/65936-0.zip b/old/65936-0.zip
deleted file mode 100644
index 15bed74..0000000
--- a/old/65936-0.zip
+++ /dev/null
Binary files differ
diff --git a/old/65936-h.zip b/old/65936-h.zip
deleted file mode 100644
index 70b78a3..0000000
--- a/old/65936-h.zip
+++ /dev/null
Binary files differ
diff --git a/old/65936-h/65936-h.htm b/old/65936-h/65936-h.htm
deleted file mode 100644
index 4345bdc..0000000
--- a/old/65936-h/65936-h.htm
+++ /dev/null
@@ -1,905 +0,0 @@
-<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
- "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
- <head>
- <meta http-equiv="Content-Type" content="text/html;charset=us-ascii" />
- <meta http-equiv="Content-Style-Type" content="text/css" />
- <title>
- The Project Gutenberg eBook of Wanderlust, by Alan E. Nourse.
- </title>
- <link rel="coverpage" href="images/cover.jpg" />
-
- <style type="text/css">
-
-body {
- margin-left: 10%;
- margin-right: 10%;
-}
-
- h1,h2 {
- text-align: center; /* all headings centered */
- clear: both;
-}
-
-p {
- margin-top: .51em;
- text-align: justify;
- margin-bottom: .49em;
-}
-
-hr {
- width: 33%;
- margin-top: 2em;
- margin-bottom: 2em;
- margin-left: 33.5%;
- margin-right: 33.5%;
- clear: both;
-}
-
-hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;}
-hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;}
-
-.center {text-align: center;}
-
-.right {text-align: right;}
-
-/* Images */
-.figcenter {
- margin: auto;
- text-align: center;
-}
-
-div.titlepage {
- text-align: center;
- page-break-before: always;
- page-break-after: always;
-}
-
-div.titlepage p {
- text-align: center;
- text-indent: 0em;
- font-weight: bold;
- line-height: 1.5;
- margin-top: 3em;
-}
-
-
- </style>
- </head>
-<body>
-
-<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Wanderlust, by Alan E. Nourse</div>
-
-<div style='display:block; margin:1em 0'>
-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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
-are not located in the United States, you will have to check the laws of the
-country where you are located before using this eBook.
-</div>
-
-<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Wanderlust</p>
-
-<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Alan E. Nourse</div>
-
-<div style='display:block; margin:1em 0'>Release Date: July 28, 2021 [eBook #65936]</div>
-
-<div style='display:block; margin:1em 0'>Language: English</div>
-
-<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div>
-
-<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net</div>
-
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK WANDERLUST ***</div>
-
-<div class="figcenter">
- <img src="images/illus.jpg" alt=""/>
-</div>
-
-<hr class="chap" />
-
-<div class="titlepage">
-
-<p>Tad, like other young men, looked to the<br />
-spaceways for adventure. But George Barlow, like<br />
-other fathers, knew that disaster would end his&mdash;</p>
-
-<h1>WANDERLUST</h1>
-
-<h2>By Alan E. Nourse</h2>
-
-<p>[Transcriber's Note: This etext was produced from<br />
-Imagination Stories of Science and Fantasy<br />
-October 1952<br />
-Extensive research did not uncover any evidence that<br />
-the U.S. copyright on this publication was renewed.]</p>
-
-</div>
-
-<hr class="chap" />
-
-<p>Somehow George Barlow had sensed that something was wrong the moment
-his son drove into the barnyard that evening. He had been waiting
-impatiently for Tad's return all afternoon; the men needed those
-tractor bolts before they could do the mowing. But George had felt the
-uneasiness, quite suddenly, deep in his chest when he heard the boy's
-three-wheeler chugging up the rutted country road from town.</p>
-
-<p>He sat quietly, waiting, stroking old Snuffy behind the ears. He heard
-the little motor-car pop into silence as Tad drove it into the garage;
-then there was a long silence. George waited several minutes before
-running a hand through his tawny hair. "What's that boy doing out
-there, anyway?" he growled.</p>
-
-<p>Florence Barlow glanced up through the kitchen window. "He's gone up on
-the ridge," she said. "He's just standing up there, looking down the
-valley." She turned back to the stove, pushing back an unruly whisp of
-graying hair.</p>
-
-<p>George sat back in his chair, puffing his pipe, the uneasiness growing.
-Tad was usually back from town hours earlier. The oats had to be
-cut this week&mdash;the shipment of Venusian <i>taaro</i> was due from the next
-Rocket, and they had to have a field free for it. But still, he knew it
-was more than the tractor bolts that bothered him.</p>
-
-<p>Then suddenly the door burst open and Tad was there, filling the room
-with his broad shoulders, whistling tunelessly to himself. A cool east
-breeze followed him in the door, and with it an aura of excitement.
-Tad's sunbaked hair was wild from the ride through the wind, his sharp
-eyes sparkling:</p>
-
-<p>"Dad! The Rocket landed this afternoon. Out at Dillon's Landing. It's
-three weeks early this time!"</p>
-
-<p>A chill swept up George's spine, tingling his scalp. "Then we should
-get the <i>taaro</i> in a couple of days," he said smoothly.</p>
-
-<p>"We should." Tad's eyes were bright as he patted the dog's head. His
-whole body seemed alive with excitement. "I walked up on the ridge to
-get a look at it, dad. It's a beauty&mdash;tall and slim&mdash;you should see it
-down there. It catches the sunset like you never saw before&mdash;"</p>
-
-<p>He was still talking as he walked out to the kitchen, stooping to kiss
-his mother on the forehead. "You ought to go up and take a look at it,
-mom&mdash;before the sun's gone."</p>
-
-<p>"I've got plenty to do without going to gawk at a Rocket ship," his
-mother's voice was sharp. "You have too, for that matter. Did you get
-the tractor bolts for your father?"</p>
-
-<hr class="tb" />
-
-<p>The boy frowned suddenly, and snapped his fingers. "Plumb forgot them.
-The ship was landing just as I got into town, so I went over to watch
-it&mdash;" he took his place opposite his father at the table, his face
-brightening again. He didn't see the cloud on his father's face. "And
-they let us go inside it to look around, dad. I never saw anything
-like it. You wouldn't believe that they could get such a ship off the
-ground. Why, even I can remember when it was all they could do to blast
-off with a little ten-man ship, and now&mdash;why, this one is like a yacht.
-It's the STAR KING, the newest one in Dillon's fleet."</p>
-
-<p>George Barlow scowled, the tightness in the pit of his stomach suddenly
-making his food tasteless. "That's lovely," he said sourly. "They can
-build them a mile long for all I care. They still aren't fit for rats.
-At least here you can wash your face if you want to&mdash;" He turned back
-to his plate, hoping the discussion was over, hoping&mdash;</p>
-
-<p>"But this one had complete showers, soft bunks, everything. Hydroponic
-tanks that make the experimental station look like pikers&mdash;"</p>
-
-<p>"Eat," said George.</p>
-
-<p>Tad lapsed into silence, the hearty silence of a hungry
-nineteen-year-old before a full dinner plate. His father took another
-mouthful and put down his fork, his appetite gone. He could feel the
-tension growing, the tightness of his breathing. He sensed his wife's
-apprehension as she too slowed and stopped eating. As if she, too,
-were waiting&mdash;</p>
-
-<p>"Saw Len Cooper when he came off the ship, too, dad. Do you remember
-Len? This was his first cruise." Tad's eyes sparkled. "He says there's
-nothing like it, that Rocket life. They stopped on Venus, you know, and
-then did a reconnaissance in toward the Mercury orbit before they came
-back. Almost five years away from Earth! They've got a stack of reports
-as big as an almanac for printing. And Len&mdash;you know how scrawny he
-was? He's put on muscle now. Looks great." Tad put down his fork, a
-subtle change in his voice, his hand trembling. "We had a long talk,
-dad. Len says&mdash;"</p>
-
-<p>"Len Cooper's a fool!" George Barlow's voice snapped irritably. "He
-hasn't got all his marbles. A kid like that&mdash;all the potential in the
-world&mdash;brains, opportunity&mdash;and what does he do with it? Shoots it into
-Rockets! First cruise, huh? It isn't his last, by a long shot. Those
-Rocket boys aren't stupid. They know it takes a good cruise to teach
-a youngster his way around out there. He can't begin to work for his
-wages until the second cruise, or the third. And then it's too late to
-come back&mdash;"</p>
-
-<p>Tad fiddled with his fork, his eyes down. The room was silent; even
-Florence sat tense, startled by the outburst. George sat glumly. That
-was stupid, he thought. Inexcusably stupid. You'll have to face it
-some day&mdash;you know that. Now? Maybe&mdash;oh, Lord, not now&mdash;maybe tomorrow.
-But what could you say? What if it <i>is</i> now? His hand trembled as he
-fumbled awkwardly for his pipe. Where were the words, the phrases, the
-arguments, so long rehearsed, so sensible, so fatherly?</p>
-
-<p>"Dad."</p>
-
-<p>His fingers were like ice on the pipe bowl. Not tomorrow, then. Now.</p>
-
-<p>"Dad."</p>
-
-<p>"Yes, Tad."</p>
-
-<p>The boy looked straight at his father, his voice very low. "I'm going,
-dad," he said. "I'm going with it."</p>
-
-<hr class="tb" />
-
-<p>The chill widened in George Barlow's stomach, spreading into his legs
-and chest. He heard his wife's startled gasp, and the chill deepened.
-He searched for words, and no words came. How long, now, had he
-prepared, rehearsed? And now&mdash;nothing. He just sat there in the dead
-still room&mdash;</p>
-
-<p>"Well, I never heard anything more ridiculous in all my life!" Florence
-burst out finally. "You're crazy, Tad. Plumb crazy. Do you mean to sit
-there and say that you're going to give up college, throw away this
-farm?" She set the cream pitcher down with a thump. "It's out of the
-question. You just can't mean it."</p>
-
-<p>Tad wriggled uneasily. "I do mean it, mom. The STAR KING is signing up
-crew tomorrow. They have places for four novices, this time. They'll
-take me. I know they will. I&mdash;I asked this afternoon. I want to go."</p>
-
-<p>George Barlow gripped the edge of the table, fighting for control.
-"Don't be silly, boy," he said finally, his voice tight. "You're no
-Rocket man. You don't know what you're saying&mdash;" his hands trembled.
-"Space is no place for a fellow like you&mdash;you belong here, studying,
-working&mdash;not hopping around space like a common tramp." He tamped
-tobacco into his pipe bowl with an air of finality. "Every boy nowadays
-thinks about going to Space, I know. The fleets are growing larger,
-taking more and more boys&mdash;but the smart ones stay home."</p>
-
-<p>Tad's voice was low and quiet, more deadly firm than George had ever
-heard it. "You don't understand, dad. I know you don't like it&mdash;I
-know you think it's foolish not to finish college, you hate to see me
-leave home&mdash;but you don't understand." He looked up, his boyish face
-pale under deep summer tan. "I can't explain it, dad. Ever since I was
-little, since I saw my first Rocket shooting up into the sky toward
-the stars, I knew I had to go, too, sometime." He shook his head
-helplessly. "It's what I've wanted all my life, dad. I've <i>got</i> to go."</p>
-
-<p>"But the farm, son&mdash;" Florence was almost in tears. "Doesn't that mean
-anything to you? Your family's been here for a hundred years, Tad.
-It's yours, as soon as you're ready to farm it. Don't you <i>care</i> about
-it after all these years?"</p>
-
-<p>"You know I care, mom." The boy avoided her tearful eyes, ran a hand
-through his hair. "You know I like the place, and I feel awful running
-out after all the work you and dad and the men have put in, building
-it up&mdash;but I couldn't make a go of it. I don't want to be earth-bound,
-tied down to a piece of land all my life&mdash;"</p>
-
-<p>His mother's face was suddenly very, very tired. "Oh, you fool," she
-said, her voice bitter. "You don't know how you'll long for green
-grass again&mdash;" her face flared red in anger. "You've barely started to
-shave, and you want to go to Space. Well, it's nonsense! You can't do
-it, that's final. Tell him, George! Tell him why he can't go&mdash;tell him
-why&mdash;"</p>
-
-<p>"<i>Florence!</i>"</p>
-
-<p>She stopped short, eyes wide. "George, I'm sorry&mdash;"</p>
-
-<p>His voice was sharp, urgent. "I think&mdash;maybe Tad and I ought to talk
-this out&mdash;ourselves&mdash;"</p>
-
-<p>"I'm sorry, George." Florence Barlow rose silently. She began clearing
-the table, her eyes brimming.</p>
-
-<p>Tad's face was troubled. "I wish you wouldn't make a fuss, dad. I
-suppose it's a surprise to you both&mdash;"</p>
-
-<p>George smiled sourly. "Hardly. We've been around a while, Tad. We saw
-Len Cooper go, and a half-dozen like him. We knew you'd get the bug
-sooner or later. But you've got to understand why we can't allow it."</p>
-
-<hr class="tb" />
-
-<p>The room was silent, except for the faint rustling of the breeze
-through the curtains. "You don't know what you're walking into, Tad.
-None of you boys really know. You only see one side of the picture,
-the excitement and adventure. I know, it's a thrilling picture, but
-the thrill wears off, and then you have the long dull days of waiting,
-sitting, always waiting, with nothing to see but the bulkhead and a
-dozen men cramped into impossible tight quarters without any room to
-move around. You don't know how you'd get to hate those men, how you'd
-wish you could be alone for just a little while, how you'd long for
-privacy. And you don't realize the danger&mdash;not the exciting, bravado
-kind of danger that you read about, but the live, horrible danger of
-depending for your life on a little sliver of metal.</p>
-
-<p>"So many things can go wrong, and any one of them means you're through.
-Not a brave death, son, nor a heroic death&mdash;just a very lonely death,
-where you freeze and starve, and feel the life choke out of you. There
-are so many ways to die in Space, such horrible ways, so easily. And
-there isn't any reward worth the risk. It's all risk, and you have
-nothing for it. A few days of glory when you're back home, and then
-you're off again. Once you go, you're gone. You'll never come back.
-Only the lucky ones come back. You'll be in Space 'til it kills you."</p>
-
-<p>"But the colonies, dad. Mars Mountain, Player's Folly,
-Ironstone&mdash;they're all going concerns. They need men, lots of men, with
-ideas&mdash;men who aren't afraid of work&mdash;"</p>
-
-<p>"The colonies!" George Barlow's voice rose angrily, his control wearing
-thin. "Why the colonies? What glory can you see in working a lifetime
-to squeeze a living out of Mars rock? Scraping and fighting, squeezing
-every last drop of water, every possible inch of topsoil to dig up
-enough to keep barely alive&mdash;and then dying thirty years before your
-time? What can you see in that? Or Venus, where you sweat, and waste
-away, until the fungus gets into your lungs and blood, and you finally
-just go to sleep forever? You're crazy, Tad! You can't do it!"</p>
-
-<p>Tad shuffled his feet, his eyes downcast. "I knew you wouldn't
-understand. I can't explain it, dad&mdash;I don't know the words. But I've
-got to go, even if you don't&mdash;"</p>
-
-<p>George's face flushed in exasperation. "Now look. Just listen a minute.
-I understand perfectly, I just&mdash;"</p>
-
-<p>"<i>You don't understand!</i>" The boy's eyes blazed in sudden anger, his
-voice was bitter. "How <i>could</i> you understand? You've been nothing but
-a slogging dirt farmer all your life! How could you understand why I'd
-want to go to the stars? What do you know about Mars, or Venus? <i>You've
-never been there!</i>"</p>
-
-<p>George Barlow sat stiff, as though he had been struck. The room was
-tense, and he heard the boy breathing across the room. "Then you give
-me no choice," he said finally, his voice suddenly tired and barely
-audible. "I'm your father. I forbid you to go."</p>
-
-<p>There was a long, silent moment. Then: "I'm sorry, dad. I'm going
-anyway."</p>
-
-<hr class="tb" />
-
-<p>George Barlow lay in bed, breathing quietly. The room was close, the
-air stuffy and humid. He heard his wife's steady breathing, peaceful
-now, after sobbing herself to sleep. And somehow, deep within him,
-he seemed to hear the steady pom-pom-pom of spaceship engines, deep,
-throaty, thrilling, throbbing, vibrating&mdash;</p>
-
-<p>Calling&mdash;</p>
-
-<p>He rose quietly and walked to the window. He heard Snuffy stir herself,
-heard her claws scrabbling on the bare farmhouse floor, and felt her
-warm muzzle, firm and comforting in his hand. Then he heard nothing but
-the buzzing of cicadas, the quiet night-sounds of the farm, smelled
-the cool, hearty odor of hay and clover, heard the occasional uneasy
-stomping of cattle in the barn. And still, deep in his mind, he heard
-older sounds, more familiar sounds, sounds tinged with fear, horror,
-hate, desperation&mdash;he shook his head, trying to forget, but there was
-excitement there, too, that intangible, overpowering thrill of the
-wanderlust&mdash;</p>
-
-<p>Memories flooded back into his mind, memories he had thought long ago
-blotted out and forgotten. The rich thrill of excitement as the last
-seconds crowded in close, with the strap cutting a deep welt across his
-chest&mdash;the muffled roar, the powerful sledge-hammer blow, driving his
-stomach and legs down like lead, then easing, easing gently into no
-pressure, then less than no pressure&mdash;the exhilarating, wonder-filled
-vision of the Earth rushing away, dwindling into a mottled patchwork,
-still dwindling&mdash;</p>
-
-<p>Oh, he understood, all right. He knew what tugged at his son's heels,
-he knew the consuming thrill, the insatiable hunger to reach higher
-and higher, to seek out unknown places. He knew the wonder of stepping
-on another land, an alien land, the thrill of watching two moons creep
-softly over a reddish horizon. He knew the deep, rich thrill of pushing
-the frontier outward until the sun winked coldly like another star.
-Memories flooded his mind, and he remembered too well the insistent tug
-of the wanderlust at his heels, the call of the open road, the call of
-space. And he knew that, try as he would, no Earth-bound answer would
-ever drive it away&mdash;</p>
-
-<p>Yes, he understood. But deep in his heart he felt the coldness, the
-pain and agony, the sense of bitter loss. He was one of the lucky. He
-had come back. Tad would never come back. The odds were too great,
-there were too few of the lucky. And it was better <i>not</i> to be one of
-the lucky, better to die out there, forgotten, unmourned.</p>
-
-<hr class="tb" />
-
-<p>Maybe he should have told the boy while he was young, tried to teach
-him, to make him understand. Perhaps he'd been wrong to conceal it all
-these years, to lie to Tad, to make Florence conceal, too. Perhaps Tad
-should have been told&mdash;but even knowing that someday the wanderlust
-would come, he knew he couldn't have told him. Better to conceal, to
-wait for the contempt, wait to hear the words, short, bitter words:
-"<i>How could you ever understand? You've never been there</i>&mdash;"</p>
-
-<p>George felt the perspiration trickle down his neck. How could he
-explain the things he hardly dared think about himself? The fear, the
-bitterness, the horror? Tad would be sleeping now, peacefully, in his
-room, his bag half packed on the dresser, dreaming dreams of wonder
-in his sleep, and never dreaming for an instant of the terror, the
-pain&mdash;never knowing how hard a taskmaster the wanderlust could be, what
-terrible fees it could exact.</p>
-
-<p>He knew he couldn't fight it. He had known since Tad was born that it
-would be useless. For the young saw only what they wanted to see.</p>
-
-<p>And suddenly George was fumbling in his dresser drawer, frantically
-searching for the small oblong box, rushing, before he changed his
-mind. His hands closed on the small container, and its contents were
-cold between his fingers. And then he was in Tad's room, quietly,
-seeking the bag, half packed, a few meager clothes, a few meager
-memories to go away with a hopeful heart. He fumbled in the bag, and
-suddenly the memories closed in on George Barlow, and he was living
-again the horrible moments, the rumbling, jolting thunder in the
-bowels of the ship; the frantic scrambling down the dark passageways,
-the men, fear-crazed and tumbling over each other in free fall&mdash;the
-gleaming white-hot of the atomic fires gone wild; the screams of agony,
-the crashing, fiery groping through oven-like chambers, the twisting,
-wrenching of controls, fighting to stay alive, fighting in blazing
-agony, fire burning to the bottom of his soul&mdash;</p>
-
-<p>The little metal disc slipped into the boy's bag, down between a pair
-of pants and a book; a thin metal disc of pure gold, a simple symbol,
-with simple words: <i>To George L. Barlow, for Heroism in Space</i>&mdash;</p>
-
-<p>He dropped the disc into the boy's bag and stumbled back to his room.
-He sat in the silence stroking old Snuffy's soft muzzle, sat in
-darkness, eternal since that hour of terror, as tears streamed down
-scarred cheeks from his sightless eyes....</p>
-
-<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK WANDERLUST ***</div>
-<div style='text-align:left'>
-
-<div style='display:block; margin:1em 0'>
-Updated editions will replace the previous one&#8212;the old editions will
-be renamed.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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&#8482; electronic works to protect the PROJECT GUTENBERG&#8482;
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for an eBook, except by following
-the terms of the trademark license, including paying royalties for use
-of the Project Gutenberg trademark. If you do not charge anything for
-copies of this eBook, complying with the trademark license is very
-easy. You may use this eBook for nearly any purpose such as creation
-of derivative works, reports, performances and research. Project
-Gutenberg eBooks 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.
-</div>
-
-<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br />
-<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br />
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span>
-</div>
-
-<div style='display:block; margin:1em 0'>
-To protect the Project Gutenberg&#8482; 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 &#8220;Project
-Gutenberg&#8221;), you agree to comply with all the terms of the Full
-Project Gutenberg&#8482; License available with this file or online at
-www.gutenberg.org/license.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 1. General Terms of Use and Redistributing Project Gutenberg&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.A. By reading or using any part of this Project Gutenberg&#8482;
-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&#8482; electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg&#8482; 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.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.B. &#8220;Project Gutenberg&#8221; 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&#8482; 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&#8482; electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg&#8482;
-electronic works. See paragraph 1.E below.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.C. The Project Gutenberg Literary Archive Foundation (&#8220;the
-Foundation&#8221; or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg&#8482; 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&#8482; mission of promoting
-free access to electronic works by freely sharing Project Gutenberg&#8482;
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg&#8482; 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&#8482; License when
-you share it without charge with others.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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&#8482; work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country other than the United States.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E. Unless you have removed all references to Project Gutenberg:
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg&#8482; License must appear
-prominently whenever any copy of a Project Gutenberg&#8482; work (any work
-on which the phrase &#8220;Project Gutenberg&#8221; appears, or with which the
-phrase &#8220;Project Gutenberg&#8221; is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-</div>
-
-<blockquote>
- <div style='display:block; margin:1em 0'>
- 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you
- are not located in the United States, you will have to check the laws
- of the country where you are located before using this eBook.
- </div>
-</blockquote>
-
-<div style='display:block; margin:1em 0'>
-1.E.2. If an individual Project Gutenberg&#8482; 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 &#8220;Project
-Gutenberg&#8221; 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&#8482;
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.3. If an individual Project Gutenberg&#8482; 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&#8482; License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg&#8482;
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg&#8482;.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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&#8482; License.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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&#8482; work in a format
-other than &#8220;Plain Vanilla ASCII&#8221; or other format used in the official
-version posted on the official Project Gutenberg&#8482; website
-(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 &#8220;Plain
-Vanilla ASCII&#8221; or other form. Any alternate format must include the
-full Project Gutenberg&#8482; License as specified in paragraph 1.E.1.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg&#8482; works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg&#8482; electronic works
-provided that:
-</div>
-
-<div style='margin-left:0.7em;'>
- <div style='text-indent:-0.7em'>
- &bull; You pay a royalty fee of 20% of the gross profits you derive from
- the use of Project Gutenberg&#8482; works calculated using the method
- you already use to calculate your applicable taxes. The fee is owed
- to the owner of the Project Gutenberg&#8482; 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, &#8220;Information about donations to the Project Gutenberg
- Literary Archive Foundation.&#8221;
- </div>
-
- <div style='text-indent:-0.7em'>
- &bull; 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&#8482;
- 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&#8482;
- works.
- </div>
-
- <div style='text-indent:-0.7em'>
- &bull; 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.
- </div>
-
- <div style='text-indent:-0.7em'>
- &bull; You comply with all other terms of this agreement for free
- distribution of Project Gutenberg&#8482; works.
- </div>
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg&#8482; electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from the Project Gutenberg Literary Archive Foundation, the manager of
-the Project Gutenberg&#8482; trademark. Contact the Foundation as set
-forth in Section 3 below.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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&#8482; collection. Despite these efforts, Project Gutenberg&#8482;
-electronic works, and the medium on which they may be stored, may
-contain &#8220;Defects,&#8221; 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.
-</div>
-
-<div style='display:block; margin:1em 0'>
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the &#8220;Right
-of Replacement or Refund&#8221; described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg&#8482; trademark, and any other party distributing a Project
-Gutenberg&#8482; 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.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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 &#8216;AS-IS&#8217;, WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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&#8482; electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg&#8482;
-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&#8482; work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg&#8482; work, and (c) any
-Defect you cause.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 2. Information about the Mission of Project Gutenberg&#8482;
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; 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.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg&#8482;&#8217;s
-goals and ensuring that the Project Gutenberg&#8482; 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&#8482; 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.
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 3. Information about the Project Gutenberg Literary Archive Foundation
-</div>
-
-<div style='display:block; margin:1em 0'>
-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&#8217;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&#8217;s laws.
-</div>
-
-<div style='display:block; margin:1em 0'>
-The Foundation&#8217;s 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&#8217;s website
-and official page at www.gutenberg.org/contact
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; depends upon and cannot survive without widespread
-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.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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 <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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.
-</div>
-
-<div style='display:block; margin:1em 0'>
-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
-</div>
-
-<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'>
-Section 5. General Information About Project Gutenberg&#8482; electronic works
-</div>
-
-<div style='display:block; margin:1em 0'>
-Professor Michael S. Hart was the originator of the Project
-Gutenberg&#8482; concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg&#8482; eBooks with only a loose network of
-volunteer support.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Project Gutenberg&#8482; 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.
-</div>
-
-<div style='display:block; margin:1em 0'>
-Most people start at our website which has the main PG search
-facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>.
-</div>
-
-<div style='display:block; margin:1em 0'>
-This website includes information about Project Gutenberg&#8482;,
-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.
-</div>
-
-</div>
-
-</body>
-</html>
diff --git a/old/65936-h/images/cover.jpg b/old/65936-h/images/cover.jpg
deleted file mode 100644
index 53a7530..0000000
--- a/old/65936-h/images/cover.jpg
+++ /dev/null
Binary files differ
diff --git a/old/65936-h/images/illus.jpg b/old/65936-h/images/illus.jpg
deleted file mode 100644
index 52ac261..0000000
--- a/old/65936-h/images/illus.jpg
+++ /dev/null
Binary files differ