diff options
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/67319-0.txt | 805 | ||||
| -rw-r--r-- | old/67319-0.zip | bin | 15569 -> 0 bytes | |||
| -rw-r--r-- | old/67319-h.zip | bin | 242245 -> 0 bytes | |||
| -rw-r--r-- | old/67319-h/67319-h.htm | 914 | ||||
| -rw-r--r-- | old/67319-h/images/cover.jpg | bin | 240006 -> 0 bytes |
8 files changed, 17 insertions, 1719 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..489fbd3 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #67319 (https://www.gutenberg.org/ebooks/67319) diff --git a/old/67319-0.txt b/old/67319-0.txt deleted file mode 100644 index 3e9e114..0000000 --- a/old/67319-0.txt +++ /dev/null @@ -1,805 +0,0 @@ -The Project Gutenberg eBook of The Ghost in the Red Shirt, by B. M. -Bower - -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: The Ghost in the Red Shirt - -Author: B. M. Bower - -Release Date: February 4, 2022 [eBook #67319] - -Language: English - -Produced by: Roger Frank and Sue Clark. (This file was produced from - images generously made available by The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK THE GHOST IN THE RED SHIRT *** - - - The Ghost in the Red Shirt - - by B. M. Bower - - -The proper way to begin this story would be to assure the reader, -first of all, that I have never believed in ghosts; that is the way -ghost-stories usually begin, I think. Also, I should say that what I -am about to relate is perfectly true—but I won’t begin it like that. -As a matter of fact, I don’t care much whether you believe me or not, -and I always did believe in ghosts—at least, I always hoped they were -truer than Santa Claus, and that some day I should see one. - -Aunt Jane—but I don’t want to begin with Aunt Jane either: she always -did begin everything in my life, ever since I can remember, and she -sha’n’t begin this story. I don’t mean her even to know I wrote -it—she’d only say I’m crazy, and I’m not. - -This is the way it all happened, and, mind, I don’t care whether you -believe it or not. It _happened_, and your belief or disbelief won’t -alter that one important fact. And he was the dearest old ghost—but -wait till I start at the beginning, as I should have done before. - -We had gone across the lake that evening in the little sail-boat, the -New Woman. Jack named it, you might know; he said she was full of -whims and it took a man to hold her nose in the wind—Jack’s awfully -sarcastic. - -There were just six of us—Aunt Jane and Mabel, Cousin Jack, Professor -Goldburn, and Clifford Wilton. Clifford and I weren’t on very friendly -terms. We had been engaged, though Aunt Jane didn’t suspect it. But it -was all over, and my sweet little ruby ring was lying somewhere off -Weir Point, where Clifford threw it one day—but this is a ghost-story. - -Nothing happened during the sail except that my hat blew away and -Mabel hinted that it wasn’t an accident—that I liked to show off my -hair. I said I didn’t show off any hair but what I might justly call -my own, and, of course, that made Mabel mad—angry, I mean. Aunt Jane -scolded me, as usual: it’s easy to tell which niece has the money. - -We landed to visit a cave in the cliff, and Mabel and Clifford flirted -outrageously. It wasn’t a bit interesting—I mean the cave. The -flirting didn’t worry me: I was particularly nice to Professor -Goldburn—so nice that Aunt Jane called me her dear child twice, and -the Professor came near offering me his heart and hand. Jack saved me: -he called us all to the boat just as the Professor got fairly warmed -to his subject. Of course, I ran as soon as Jack called, leaving the -Professor to come nipping along behind—I hate fat men, anyway. - -A storm was muttering up from the horizon, and the oily, ugly clouds -were almost over our heads before we pushed off, on account of Mabel -and Clifford loitering along the cliff path and acting that silly! - -The lake was smooth as glass and ink black, and the look of it made me -shiver, with four miles of it between us and home. - -Jack raised the sail, but it hung limp, so there was nothing for it -but to row. Jack and Clifford went to work, while I steered the boat. -Clifford spoke once to me: we ignored each other, as a rule. - -“Better keep her close in. We’ll try to round this point and run into -the cove before she strikes.” - -“If we don’t,” remarked Jack cheerfully, “she’ll flop us; and, oh -mister, she won’t do a thing to us!” - -I rather thought “she” would do several things to us, but I didn’t -stop to argue the point—there wasn’t time. I don’t know just how it -came about, but Jack was right—she “flopped” us. - -We weren’t far from shore, so the upset wasn’t very serious. The water -was so shallow we could easily wade ashore, though Mabel called for -help, and, of course, it was Clifford who rescued her—from water no -deeper than our bathtub! It is incredible, the foolishness of that -girl! - -I was first to climb the bank, and when I had watched the others land -I just sat down in the wind and the rain and laughed. (Mabel says I -will probably laugh at my own funeral; I’m positive I could have -laughed at hers just then.) The idea of a great, overgrown girl like -her (she weighs a hundred and fifty pounds if she weighs an ounce) -sobbing on a young man’s shoulder! and the curl all out of her hair, -and the complexion washed off her face in streaks. It’s a wonder she -didn’t turn Clifford sick; but, then, men show dreadfully poor taste -at times. I don’t suppose I was very entrancing myself just then, but, -thank goodness, my complexion will bear washing! - -The New Woman reached the shore, upside down, almost as soon as we -did, and my old golf-cape, that Aunt Jane insists I shall carry with -me always in the boat, dangled on a wave-washed willow. Jack waded in -and rescued it and Aunt Jane’s little gray shawl (her green umbrella’s -gone forever, for which I am very thankful). Mabel’s sailor-hat washed -ashore while we stood there, and Clifford got that. - -Then Jack remembered that there was an old cabin near there, and we -found what had once been a well-trodden path leading back from the -shore into the woods. We followed it dismally, with the lightning to -guide us. - -Jack led the way, reciting: “It was night! The vivid lightnings -flashed athwart the vaulted sky and shook their fiery darts upon the -shuddering earth. The elements were in wild commotion!”—or something -like that. I think he got it out of a “Penny Dreadful.” - -Just as Jack said “commotion,” with a fine roll upon the word, the -Professor caught his toe upon a root, and down he went—and I laughed. -Aunt Jane didn’t call me her dear child that time; she said, -“Zel-l-l-ah!” But I don’t care. Jack laughed too, though he did -pretend he was just coughing. - -We found the cabin, half hidden by the tall burdocks and wild -rosebushes. The door-step was sunken and covered deep with the leaves -of many summers. - -Jack threw open the door and cried “Spooks!” in a sepulchral tone -which gave me a chill, but when Mabel gave a squawk and caught -Clifford’s arm I just pushed Mr. Jack headlong over the threshold and -went on in. - -The lightning glared in at the open door and showed us a great, old -fireplace, with a huge pile of dry wood stacked in one corner, and -there were some chairs and a table, and that was all. - -Jack swooped down upon the fireplace with a shout, and we had a -roaring fire in no time, for Jack’s matches were dry, for a wonder. -Goodness knows he paid enough for his matchbox; Aunt Jane said it was -a scandalous price, but it was worth every cent of it to have dry -matches that night. We huddled around the fire, half frozen from our -ducking. I spread out my old golf-cape to dry, so that I might have -some good of the old thing—I had lugged it around all summer and -hadn’t used it once. Aunt Jane and I took down our hair and wrung out -the water. Mabel wouldn’t; she said hers wasn’t very wet—and that -settled the switch question in my mind, and from the way Jack grinned -I know what he thought about it—and Aunt Jane trying to make a match -between those two! - -Professor Goldburn backed up to the fire, rubbed his pudgy hands -together behind him, and ogled till I felt downright sick, but I -wouldn’t show it. He had lost his eyeglass and the curl was out of his -mustache and his collar all crumpled, and that oily smile didn’t seem -to match the rest of him a bit. I don’t care if he is worth a million -or more, I just think he’s horrid! I smiled back at him just to see -Clifford scowl. But Clifford wasn’t looking my way. He was whispering -something to Mabel and had his back turned to me—both of which I -consider rude in anybody, no matter who does it. - -Then Jack got to wondering what was in the next room, for there -appeared to be two, and he and I went to explore. - -The room had been a bedroom, I think. It was bare of everything but -dust and cobwebs, and was so small it didn’t take us long—Jack only -burned one match and two fingers. - -After that we sat around the fire and listened to the storm, and tried -to think we weren’t famished, which was hard to do, seeing we had had -nothing since luncheon. - -Aunt Jane worried over Uncle John and how anxious he’d be, but I was -rather glad for him. He’d lectured me awfully that morning because I -wasn’t nice and dignified, like Mabel. I hoped he’d remember it with -remorse. - -Jack sang coon-songs and even did a cake-walk. I got up and helped him -in that, just to shock Mabel. She thinks cake-walking is very -unladylike, and always looks scandalized when I begin anything of the -kind. - -Aunt Jane—to punish us, I think—started the Professor going on his pet -microbes, and once he was started, no one else had any show whatever. -He droned on about bacilli and other horrors, and gravely assured us -that old cabin was undoubtedly swarming with awful-sounding germs. -Fancy being married to such a man—ugh! - -Aunt Jane presently fell asleep, and as Clifford took to staring -moodily into the fire and not seeming to remember anything but his -thoughts, Mabel soon followed Aunt Jane’s example. I was hungry and -cross, and even the Professor couldn’t talk me to sleep. - -I wrapped my golf-cape around me and cuddled in an old armchair in -front of the fireplace, with Jack and the Professor upon either side -of me and Clifford on a little bench against the wall. Aunt Jane and -Mabel were on the side opposite Clifford, though they, being asleep, -do not count. - -I was beginning to hold my eyes open with some effort, when something -roused me, and I sat up straight and listened. The storm was still -beating furiously against the cabin walls, but another sound was -distinctly audible. There could be no mistake—someone was walking back -and forth in the other room. - -We looked at one another, and I admit a creepy feeling went up my -spine just at first. - -Clifford caught up a brand from the fire and started for the closed -door, and we all followed him. When we crowded into the doorway we saw -nothing but the dust and the cobwebs and the dancing glare of -Clifford’s torch upon the rough board walls. It was such a bare little -room that I think we all felt a bit ashamed of our nerves. - -The footsteps had ceased, and only the wind and rain, beating upon the -low roof, could be heard. - -“It’s the wind,” said Clifford, pointing his torch downward to freshen -the blaze. - -“It was the water dripping from some branch upon the roof,” said the -Professor—and that was the most sensible remark he had made that -night. - -“More likely it’s rats,” put in Jack. “Can’t be a ghost—they’re noted -chiefly for the noise they _don’t_ make.” - -I pinched Jack soundly for mentioning ghosts, and spoke as firmly as I -could with my teeth chattering so,— - -“It’s your microbes, Professor.” - -Jack snickered, and the Professor rolled his eyes reproachfully at me. - -Then we all went back to the fire and Jack threw on more wood. The -Professor went on talking, only this time it was about telepathy, or -something of that sort. And soon we heard that heavy, measured tread, -as before. I must say I didn’t much like the sound of it—coming like -that, with no feet to make the thing seem reasonable, and with no -ghost to make it creepily interesting, but the men appeared to ignore -the tramping, so I tried to not care. - -Jack fell to smoking cigarettes, seeing Aunt Jane was asleep, and -Clifford poked the ashes into fanciful little heaps and got creases in -his forehead. He did look glum and no mistake, but I couldn’t see that -he was afraid, or anything like that. - -After awhile my eyes went shut, just for a minute. I could still hear -the Professor’s voice droning like a big bumble-bee, when suddenly he -stopped short in the middle of a sentence. That was odd, for he does -love to round out his sentences nicely, even when he is interrupted. - -I opened my eyes and looked at him. He was gazing, with mouth half -open and with eyes full of fear, at something behind me. - -Well, you know how it is when someone begins to stare _behind_ you—if -you were to be hanged for it the next minute, you’d turn and look. You -couldn’t help it. - -I turned in my chair, and—br-r-r-r! I went cold all over, with little -prickles in my scalp. (I suppose that was my hair standing on end, -though Jack says it always does.) - -Coming slowly across the room, straight towards me, was a -man—ghost—oh, I don’t know what! I gave one horrified glance, then I -jumped from the armchair and with one bound I was on the little bench, -snuggled up to Clifford’s side. I didn’t realize it till I felt his -arm—well, under the golf-cape! (That blessed old cape shall never go -to the ragman, I assure you.) - -I was none too soon, for as I sprang from the chair It slid into it. -There he sat—a short, stocky figure, with grizzled hair and rough, -toil-hardened hands. His eyes were dull and gazed straight into the -fire. - -I must confess I was the tiniest bit disappointed after that first -glance. I had all my life longed to see a really, truly ghost, but -this one was neither picturesque nor orthodox. Where was the white -winding-sheet? He wore faded blue overalls and a red flannel shirt! As -to the chill, I have felt that before. - -For instance, when Clifford threw my ring away out, and I watched the -widening circle where it fell, while he said bitterly, “There goes my -faith in women,” I felt the very same creepy cold trickling down my -back. I believe I even felt worse that time. - -We all sat as if paralyzed. After a minute I gathered courage to -glance up at Clifford’s face, and, do you know, he actually seemed to -enjoy the situation! He looked down at me, and his _eyes_ smiled—and -I’m not sure but his lips did, as well. I know he didn’t seem a bit -scared. - -Jack certainly was white, though he scouted the idea afterwards, and -the Professor’s face was like a great lump of beef suet. - -After what seemed hours—and was probably only seconds—the apparition -rose, glided back to the door, and disappeared. - -Jack drew a long breath and finished making a cigarette, though I know -his hand shook and made it hard work. The Professor gathered himself -together, said “Lord bless my soul!”—it was as bad as swearing, the -way he said it,—and raised a forefinger. - -“Ladies and gentlemen,” he began in a shaky half-whisper, “it would -seem that we have just beheld something unusual and—er—startling.” - -“Well, I should tell a man!” said Jack, glancing furtively over his -shoulder as he drew a match along the edge of his chair. - -“Now,” continued the Professor hurriedly, somewhat steadied by Jack’s -composure (though I’m certain that was only assumed), “I would -suggest, in the interest of scientific research, that before anything -is said upon the subject we each in turn write a brief description of -the—er—phenomenon. In this way there will be less danger of our -impression being colored by that of another mind, and—er—ladies -first.” - -With this lame finish he handed me a little, red note-book and a -pencil. - -“Write briefly what you saw,—I take it you _did_ see something,—then -turn the page and pass the book to Mr. Wilton.” - -This struck me as being decidedly original, and since I was not nearly -as frightened as one would suppose (it was _such_ a comfort being -reconciled to Clifford!), I took the book and did the best I could. - -Then Clifford drew his arm reluctantly from under my cape,—I hope and -pray no one knew it was there all this while,—scribbled rapidly, -turned the page, and gave the book to Jack, and then his arm oh, well, -what could I do? I did try pinching his hand, but his fingers caught -mine in an awful grip and wouldn’t let go, and so—what could I do? - -Just then Aunt Jane woke with a shiver. - -“Mercy,” she said, “what an awful storm!” - -In a moment she noticed the steps in the other room. - -“Strange,” she said, turning her head to listen. “What is it, do you -think?” - -“Wind,” said the Professor rather curtly, for him. - -“Water,” said Clifford, giving my fingers a squeeze. - -“Rats,” announced Jack, in a tone which left us doubtful as to his -meaning. - -“Microbes,” finished I, not to be outdone by their brevity and aplomb. - -“Zella!” cried Aunt Jane, glancing apprehensively at the Professor. - -The Professor looked at me and sighed, and Jack clapped both hands -over his heart and nearly sighed himself off the three-legged stool. -Jack can’t endure Professor Goldburn. - -“Zella,” began Aunt Jane pointedly, “don’t you think you would be more -comfortable in that chair?” (meaning the ghost chair.) - -“No, I don’t!” I snapped, very impertinently, I’m afraid—but catch me -sitting in _that chair_ again! - -Aunt Jane turned to Jack, perched uncomfortably on the stool. (Now -Jack is proverbially lazy: he never sits upright when he can lean.) - -“Well, Jack! I never knew you to let a cushioned armchair go begging -an occupant. What’s the matter?” - -“Oh, nothing,” drawled Jack. “You sit there yourself, mother.” - -“Well, I will. It looks more comfortable than this straight-backed -one,” and she settled down heavily on the faded calico cushion, while -I shivered with horror. - -If the ghost in the red shirt returned—well, Aunt Jane is one of the -screaming sort. - -We sat quiet a long time, it seemed to me. I was just wondering if I -dared lean my head against Clifford and take a nap when I felt his arm -tighten warningly. I looked, and there was the ghost gliding up to the -chair, his lustreless eyes fixed upon the fire as before. - -Jack turned and saw it, and grew white. He can’t convince _me_ he -wasn’t scared, for he looked it. - -I stared, horrified. I tried to cry out, but before I could limber my -tongue (it felt so dry and helpless) the ghost reached the chair -and—sat right down upon Aunt Jane! He really did! She stirred a little -and shivered. - -“Throw more wood on the fire, Jack,” she said, “I feel chilly.” - -Chilly! Good Heaven, I think we all did! Even Jack’s splendid nerve -was shaken at sight of his own mother dandling that Thing upon her -knees. - -“Mother!” he cried, and his voice sounded hoarse (for a fellow that -wasn’t scared), “for God’s sake, move!” - -Well, there’s a gap in the story here that I can’t fill. - -The next I remember Aunt Jane was fanning me with Mabel’s sailor-hat, -and Jack stood by with an old tomato-can full of water which leaked a -stream almost, and he looking very sober. The Professor was rubbing -his hands together and saying, “Lord bless my soul!” over and over. I -hate that man! - -The ghost in the red shirt was gone, and I could not hear any -footsteps in the vacant room. - -After that it was a thousand years till morning. Our watches had all -stopped, so I may be allowed my own estimate of the time, I hope. - -Well, I think that’s all of the ghost-story. It would take too long to -tell how we walked home at daybreak—six miles, it was, right through -the woods, and Aunt Jane and the Professor puffing like steam-engines -before we had gone a mile—or how Uncle John had a steam-launch out -searching for our remains. All that would make another story, and one -is my limit. - -Oh, I didn’t go to sleep in that cabin and dream all this—how would -you account for Clifford’s behavior since that night, then? And what -about the red note-book? That is evidence that the ghost was real -enough, I should think. - -We had all seen him alike, only Jack said he “wanted a shave,” which I -hadn’t noticed, and the Professor wrapped his description up in so -many long words that there was no getting at the sense of it—except -that he _did_ see a ghost. - -Aunt Jane didn’t see him at all; she says she’d have died of fright if -she had; and, of course, Mabel, sleeping through the performance as -she did, was perfectly furious. She even went so far as to say we all -made it up among us just to annoy her. - -Mabel and the Professor left the same day soon after that. Mabel -simply couldn’t treat me decently after she knew—— - -Oh, and I have another ruby ring, exactly like the one which lies off -Weir Point. And Clifford has oceans of faith in women. - - (The End.) - - -[Transcriber’s Note: This story appeared in the July 1904 issue -of Lippincott’s Monthly Magazine. This was her first short story -published nationally.] - -*** END OF THE PROJECT GUTENBERG EBOOK THE GHOST IN THE RED SHIRT *** - -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/67319-0.zip b/old/67319-0.zip Binary files differdeleted file mode 100644 index 7d732ee..0000000 --- a/old/67319-0.zip +++ /dev/null diff --git a/old/67319-h.zip b/old/67319-h.zip Binary files differdeleted file mode 100644 index 8ab4a3b..0000000 --- a/old/67319-h.zip +++ /dev/null diff --git a/old/67319-h/67319-h.htm b/old/67319-h/67319-h.htm deleted file mode 100644 index c39bec5..0000000 --- a/old/67319-h/67319-h.htm +++ /dev/null @@ -1,914 +0,0 @@ -<!DOCTYPE html> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> -<head> - <meta charset="UTF-8" /> - <title>The Project Gutenberg eBook of The Ghost in the Red Shirt, by B. M. Bower</title> - <link rel="icon" href="images/cover.jpg" type="image/x-cover" /> - <style> - body { margin-left:8%; margin-right:8%; } - p { text-indent:1.15em; margin-top:0.1em; margin-bottom:0.1em; text-align:justify; } - .ce { text-align:center; text-indent:0; margin-top:0; margin-bottom:0; margin-left:auto; margin-right:auto; } - h1 { text-align:center; font-weight:normal; font-size:1.4em; margin-top:1em; } - .tn { font-size:0.9em; border:1px solid silver; margin-bottom:2em; margin-top:1.8em; margin-left:8%; width:80%; padding:0.4em 2%; } - </style> -</head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Ghost in the Red Shirt, by B. M. Bower</p> -<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: The Ghost in the Red Shirt</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: B. M. Bower</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: February 4, 2022 [eBook #67319]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Roger Frank and Sue Clark. (This file was produced from images generously made available by The Internet Archive)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE GHOST IN THE RED SHIRT ***</div> -<div class='ce'> -<h1 style='margin-bottom:0em;'>The Ghost in the Red Shirt </h1> -<div style='font-size:1.1em;margin-bottom:2em;'>by B. M. Bower </div> -</div> -<p>The proper way to begin this story would be to assure the reader, -first of all, that I have never believed in ghosts; that is the way -ghost-stories usually begin, I think. Also, I should say that what I -am about to relate is perfectly true—but I won’t begin it like that. -As a matter of fact, I don’t care much whether you believe me or not, -and I always did believe in ghosts—at least, I always hoped they were -truer than Santa Claus, and that some day I should see one.</p> - -<p>Aunt Jane—but I don’t want to begin with Aunt Jane either: she always -did begin everything in my life, ever since I can remember, and she -sha’n’t begin this story. I don’t mean her even to know I wrote -it—she’d only say I’m crazy, and I’m not.</p> - -<p>This is the way it all happened, and, mind, I don’t care whether you -believe it or not. It <i>happened</i>, and your belief or disbelief won’t -alter that one important fact. And he was the dearest old ghost—but -wait till I start at the beginning, as I should have done before.</p> - -<p>We had gone across the lake that evening in the little sail-boat, the -New Woman. Jack named it, you might know; he said she was full of -whims and it took a man to hold her nose in the wind—Jack’s awfully -sarcastic.</p> - -<p>There were just six of us—Aunt Jane and Mabel, Cousin Jack, Professor -Goldburn, and Clifford Wilton. Clifford and I weren’t on very friendly -terms. We had been engaged, though Aunt Jane didn’t suspect it. But it -was all over, and my sweet little ruby ring was lying somewhere off -Weir Point, where Clifford threw it one day—but this is a ghost-story.</p> - -<p>Nothing happened during the sail except that my hat blew away and -Mabel hinted that it wasn’t an accident—that I liked to show off my -hair. I said I didn’t show off any hair but what I might justly call -my own, and, of course, that made Mabel mad—angry, I mean. Aunt Jane -scolded me, as usual: it’s easy to tell which niece has the money.</p> - -<p>We landed to visit a cave in the cliff, and Mabel and Clifford flirted -outrageously. It wasn’t a bit interesting—I mean the cave. The -flirting didn’t worry me: I was particularly nice to Professor -Goldburn—so nice that Aunt Jane called me her dear child twice, and -the Professor came near offering me his heart and hand. Jack saved me: -he called us all to the boat just as the Professor got fairly warmed -to his subject. Of course, I ran as soon as Jack called, leaving the -Professor to come nipping along behind—I hate fat men, anyway.</p> - -<p>A storm was muttering up from the horizon, and the oily, ugly clouds -were almost over our heads before we pushed off, on account of Mabel -and Clifford loitering along the cliff path and acting that silly!</p> - -<p>The lake was smooth as glass and ink black, and the look of it made me -shiver, with four miles of it between us and home.</p> - -<p>Jack raised the sail, but it hung limp, so there was nothing for it -but to row. Jack and Clifford went to work, while I steered the boat. -Clifford spoke once to me: we ignored each other, as a rule.</p> - -<p>“Better keep her close in. We’ll try to round this point and run into -the cove before she strikes.”</p> - -<p>“If we don’t,” remarked Jack cheerfully, “she’ll flop us; and, oh -mister, she won’t do a thing to us!”</p> - -<p>I rather thought “she” would do several things to us, but I didn’t -stop to argue the point—there wasn’t time. I don’t know just how it -came about, but Jack was right—she “flopped” us.</p> - -<p>We weren’t far from shore, so the upset wasn’t very serious. The water -was so shallow we could easily wade ashore, though Mabel called for -help, and, of course, it was Clifford who rescued her—from water no -deeper than our bathtub! It is incredible, the foolishness of that -girl!</p> - -<p>I was first to climb the bank, and when I had watched the others land -I just sat down in the wind and the rain and laughed. (Mabel says I -will probably laugh at my own funeral; I’m positive I could have -laughed at hers just then.) The idea of a great, overgrown girl like -her (she weighs a hundred and fifty pounds if she weighs an ounce) -sobbing on a young man’s shoulder! and the curl all out of her hair, -and the complexion washed off her face in streaks. It’s a wonder she -didn’t turn Clifford sick; but, then, men show dreadfully poor taste -at times. I don’t suppose I was very entrancing myself just then, but, -thank goodness, my complexion will bear washing!</p> - -<p>The New Woman reached the shore, upside down, almost as soon as we -did, and my old golf-cape, that Aunt Jane insists I shall carry with -me always in the boat, dangled on a wave-washed willow. Jack waded in -and rescued it and Aunt Jane’s little gray shawl (her green umbrella’s -gone forever, for which I am very thankful). Mabel’s sailor-hat washed -ashore while we stood there, and Clifford got that.</p> - -<p>Then Jack remembered that there was an old cabin near there, and we -found what had once been a well-trodden path leading back from the -shore into the woods. We followed it dismally, with the lightning to -guide us.</p> - -<p>Jack led the way, reciting: “It was night! The vivid lightnings -flashed athwart the vaulted sky and shook their fiery darts upon the -shuddering earth. The elements were in wild commotion!”—or something -like that. I think he got it out of a “Penny Dreadful.”</p> - -<p>Just as Jack said “commotion,” with a fine roll upon the word, the -Professor caught his toe upon a root, and down he went—and I laughed. -Aunt Jane didn’t call me her dear child that time; she said, -“Zel-l-l-ah!” But I don’t care. Jack laughed too, though he did -pretend he was just coughing.</p> - -<p>We found the cabin, half hidden by the tall burdocks and wild -rosebushes. The door-step was sunken and covered deep with the leaves -of many summers.</p> - -<p>Jack threw open the door and cried “Spooks!” in a sepulchral tone -which gave me a chill, but when Mabel gave a squawk and caught -Clifford’s arm I just pushed Mr. Jack headlong over the threshold and -went on in.</p> - -<p>The lightning glared in at the open door and showed us a great, old -fireplace, with a huge pile of dry wood stacked in one corner, and -there were some chairs and a table, and that was all.</p> - -<p>Jack swooped down upon the fireplace with a shout, and we had a -roaring fire in no time, for Jack’s matches were dry, for a wonder. -Goodness knows he paid enough for his matchbox; Aunt Jane said it was -a scandalous price, but it was worth every cent of it to have dry -matches that night. We huddled around the fire, half frozen from our -ducking. I spread out my old golf-cape to dry, so that I might have -some good of the old thing—I had lugged it around all summer and -hadn’t used it once. Aunt Jane and I took down our hair and wrung out -the water. Mabel wouldn’t; she said hers wasn’t very wet—and that -settled the switch question in my mind, and from the way Jack grinned -I know what he thought about it—and Aunt Jane trying to make a match -between those two!</p> - -<p>Professor Goldburn backed up to the fire, rubbed his pudgy hands -together behind him, and ogled till I felt downright sick, but I -wouldn’t show it. He had lost his eyeglass and the curl was out of his -mustache and his collar all crumpled, and that oily smile didn’t seem -to match the rest of him a bit. I don’t care if he is worth a million -or more, I just think he’s horrid! I smiled back at him just to see -Clifford scowl. But Clifford wasn’t looking my way. He was whispering -something to Mabel and had his back turned to me—both of which I -consider rude in anybody, no matter who does it.</p> - -<p>Then Jack got to wondering what was in the next room, for there -appeared to be two, and he and I went to explore.</p> - -<p>The room had been a bedroom, I think. It was bare of everything but -dust and cobwebs, and was so small it didn’t take us long—Jack only -burned one match and two fingers.</p> - -<p>After that we sat around the fire and listened to the storm, and tried -to think we weren’t famished, which was hard to do, seeing we had had -nothing since luncheon.</p> - -<p>Aunt Jane worried over Uncle John and how anxious he’d be, but I was -rather glad for him. He’d lectured me awfully that morning because I -wasn’t nice and dignified, like Mabel. I hoped he’d remember it with -remorse.</p> - -<p>Jack sang coon-songs and even did a cake-walk. I got up and helped him -in that, just to shock Mabel. She thinks cake-walking is very -unladylike, and always looks scandalized when I begin anything of the -kind.</p> - -<p>Aunt Jane—to punish us, I think—started the Professor going on his pet -microbes, and once he was started, no one else had any show whatever. -He droned on about bacilli and other horrors, and gravely assured us -that old cabin was undoubtedly swarming with awful-sounding germs. -Fancy being married to such a man—ugh!</p> - -<p>Aunt Jane presently fell asleep, and as Clifford took to staring -moodily into the fire and not seeming to remember anything but his -thoughts, Mabel soon followed Aunt Jane’s example. I was hungry and -cross, and even the Professor couldn’t talk me to sleep.</p> - -<p>I wrapped my golf-cape around me and cuddled in an old armchair in -front of the fireplace, with Jack and the Professor upon either side -of me and Clifford on a little bench against the wall. Aunt Jane and -Mabel were on the side opposite Clifford, though they, being asleep, -do not count.</p> - -<p>I was beginning to hold my eyes open with some effort, when something -roused me, and I sat up straight and listened. The storm was still -beating furiously against the cabin walls, but another sound was -distinctly audible. There could be no mistake—someone was walking back -and forth in the other room.</p> - -<p>We looked at one another, and I admit a creepy feeling went up my -spine just at first.</p> - -<p>Clifford caught up a brand from the fire and started for the closed -door, and we all followed him. When we crowded into the doorway we saw -nothing but the dust and the cobwebs and the dancing glare of -Clifford’s torch upon the rough board walls. It was such a bare little -room that I think we all felt a bit ashamed of our nerves.</p> - -<p>The footsteps had ceased, and only the wind and rain, beating upon the -low roof, could be heard.</p> - -<p>“It’s the wind,” said Clifford, pointing his torch downward to freshen -the blaze.</p> - -<p>“It was the water dripping from some branch upon the roof,” said the -Professor—and that was the most sensible remark he had made that -night.</p> - -<p>“More likely it’s rats,” put in Jack. “Can’t be a ghost—they’re noted -chiefly for the noise they <i>don’t</i> make.”</p> - -<p>I pinched Jack soundly for mentioning ghosts, and spoke as firmly as I -could with my teeth chattering so,—</p> - -<p>“It’s your microbes, Professor.”</p> - -<p>Jack snickered, and the Professor rolled his eyes reproachfully at me.</p> - -<p>Then we all went back to the fire and Jack threw on more wood. The -Professor went on talking, only this time it was about telepathy, or -something of that sort. And soon we heard that heavy, measured tread, -as before. I must say I didn’t much like the sound of it—coming like -that, with no feet to make the thing seem reasonable, and with no -ghost to make it creepily interesting, but the men appeared to ignore -the tramping, so I tried to not care.</p> - -<p>Jack fell to smoking cigarettes, seeing Aunt Jane was asleep, and -Clifford poked the ashes into fanciful little heaps and got creases in -his forehead. He did look glum and no mistake, but I couldn’t see that -he was afraid, or anything like that.</p> - -<p>After awhile my eyes went shut, just for a minute. I could still hear -the Professor’s voice droning like a big bumble-bee, when suddenly he -stopped short in the middle of a sentence. That was odd, for he does -love to round out his sentences nicely, even when he is interrupted.</p> - -<p>I opened my eyes and looked at him. He was gazing, with mouth half -open and with eyes full of fear, at something behind me.</p> - -<p>Well, you know how it is when someone begins to stare <i>behind</i> you—if -you were to be hanged for it the next minute, you’d turn and look. You -couldn’t help it.</p> - -<p>I turned in my chair, and—br-r-r-r! I went cold all over, with little -prickles in my scalp. (I suppose that was my hair standing on end, -though Jack says it always does.)</p> - -<p>Coming slowly across the room, straight towards me, was a -man—ghost—oh, I don’t know what! I gave one horrified glance, then I -jumped from the armchair and with one bound I was on the little bench, -snuggled up to Clifford’s side. I didn’t realize it till I felt his -arm—well, under the golf-cape! (That blessed old cape shall never go -to the ragman, I assure you.)</p> - -<p>I was none too soon, for as I sprang from the chair It slid into it. -There he sat—a short, stocky figure, with grizzled hair and rough, -toil-hardened hands. His eyes were dull and gazed straight into the -fire.</p> - -<p>I must confess I was the tiniest bit disappointed after that first -glance. I had all my life longed to see a really, truly ghost, but -this one was neither picturesque nor orthodox. Where was the white -winding-sheet? He wore faded blue overalls and a red flannel shirt! As -to the chill, I have felt that before.</p> - -<p>For instance, when Clifford threw my ring away out, and I watched the -widening circle where it fell, while he said bitterly, “There goes my -faith in women,” I felt the very same creepy cold trickling down my -back. I believe I even felt worse that time.</p> - -<p>We all sat as if paralyzed. After a minute I gathered courage to -glance up at Clifford’s face, and, do you know, he actually seemed to -enjoy the situation! He looked down at me, and his <i>eyes</i> smiled—and -I’m not sure but his lips did, as well. I know he didn’t seem a bit -scared.</p> - -<p>Jack certainly was white, though he scouted the idea afterwards, and -the Professor’s face was like a great lump of beef suet.</p> - -<p>After what seemed hours—and was probably only seconds—the apparition -rose, glided back to the door, and disappeared.</p> - -<p>Jack drew a long breath and finished making a cigarette, though I know -his hand shook and made it hard work. The Professor gathered himself -together, said “Lord bless my soul!”—it was as bad as swearing, the -way he said it,—and raised a forefinger.</p> - -<p>“Ladies and gentlemen,” he began in a shaky half-whisper, “it would -seem that we have just beheld something unusual and—er—startling.”</p> - -<p>“Well, I should tell a man!” said Jack, glancing furtively over his -shoulder as he drew a match along the edge of his chair.</p> - -<p>“Now,” continued the Professor hurriedly, somewhat steadied by Jack’s -composure (though I’m certain that was only assumed), “I would -suggest, in the interest of scientific research, that before anything -is said upon the subject we each in turn write a brief description of -the—er—phenomenon. In this way there will be less danger of our -impression being colored by that of another mind, and—er—ladies -first.”</p> - -<p>With this lame finish he handed me a little, red note-book and a -pencil.</p> - -<p>“Write briefly what you saw,—I take it you <i>did</i> see something,—then -turn the page and pass the book to Mr. Wilton.”</p> - -<p>This struck me as being decidedly original, and since I was not nearly -as frightened as one would suppose (it was <i>such</i> a comfort being -reconciled to Clifford!), I took the book and did the best I could.</p> - -<p>Then Clifford drew his arm reluctantly from under my cape,—I hope and -pray no one knew it was there all this while,—scribbled rapidly, -turned the page, and gave the book to Jack, and then his arm oh, well, -what could I do? I did try pinching his hand, but his fingers caught -mine in an awful grip and wouldn’t let go, and so—what could I do?</p> - -<p>Just then Aunt Jane woke with a shiver.</p> - -<p>“Mercy,” she said, “what an awful storm!”</p> - -<p>In a moment she noticed the steps in the other room.</p> - -<p>“Strange,” she said, turning her head to listen. “What is it, do you -think?”</p> - -<p>“Wind,” said the Professor rather curtly, for him.</p> - -<p>“Water,” said Clifford, giving my fingers a squeeze.</p> - -<p>“Rats,” announced Jack, in a tone which left us doubtful as to his -meaning.</p> - -<p>“Microbes,” finished I, not to be outdone by their brevity and aplomb.</p> - -<p>“Zella!” cried Aunt Jane, glancing apprehensively at the Professor.</p> - -<p>The Professor looked at me and sighed, and Jack clapped both hands -over his heart and nearly sighed himself off the three-legged stool. -Jack can’t endure Professor Goldburn.</p> - -<p>“Zella,” began Aunt Jane pointedly, “don’t you think you would be more -comfortable in that chair?” (meaning the ghost chair.)</p> - -<p>“No, I don’t!” I snapped, very impertinently, I’m afraid—but catch me -sitting in <i>that chair</i> again!</p> - -<p>Aunt Jane turned to Jack, perched uncomfortably on the stool. (Now -Jack is proverbially lazy: he never sits upright when he can lean.)</p> - -<p>“Well, Jack! I never knew you to let a cushioned armchair go begging -an occupant. What’s the matter?”</p> - -<p>“Oh, nothing,” drawled Jack. “You sit there yourself, mother.”</p> - -<p>“Well, I will. It looks more comfortable than this straight-backed -one,” and she settled down heavily on the faded calico cushion, while -I shivered with horror.</p> - -<p>If the ghost in the red shirt returned—well, Aunt Jane is one of the -screaming sort.</p> - -<p>We sat quiet a long time, it seemed to me. I was just wondering if I -dared lean my head against Clifford and take a nap when I felt his arm -tighten warningly. I looked, and there was the ghost gliding up to the -chair, his lustreless eyes fixed upon the fire as before.</p> - -<p>Jack turned and saw it, and grew white. He can’t convince <i>me</i> he -wasn’t scared, for he looked it.</p> - -<p>I stared, horrified. I tried to cry out, but before I could limber my -tongue (it felt so dry and helpless) the ghost reached the chair -and—sat right down upon Aunt Jane! He really did! She stirred a little -and shivered.</p> - -<p>“Throw more wood on the fire, Jack,” she said, “I feel chilly.”</p> - -<p>Chilly! Good Heaven, I think we all did! Even Jack’s splendid nerve -was shaken at sight of his own mother dandling that Thing upon her -knees.</p> - -<p>“Mother!” he cried, and his voice sounded hoarse (for a fellow that -wasn’t scared), “for God’s sake, move!”</p> - -<p>Well, there’s a gap in the story here that I can’t fill.</p> - -<p>The next I remember Aunt Jane was fanning me with Mabel’s sailor-hat, -and Jack stood by with an old tomato-can full of water which leaked a -stream almost, and he looking very sober. The Professor was rubbing -his hands together and saying, “Lord bless my soul!” over and over. I -hate that man!</p> - -<p>The ghost in the red shirt was gone, and I could not hear any -footsteps in the vacant room.</p> - -<p>After that it was a thousand years till morning. Our watches had all -stopped, so I may be allowed my own estimate of the time, I hope.</p> - -<p>Well, I think that’s all of the ghost-story. It would take too long to -tell how we walked home at daybreak—six miles, it was, right through -the woods, and Aunt Jane and the Professor puffing like steam-engines -before we had gone a mile—or how Uncle John had a steam-launch out -searching for our remains. All that would make another story, and one -is my limit.</p> - -<p>Oh, I didn’t go to sleep in that cabin and dream all this—how would -you account for Clifford’s behavior since that night, then? And what -about the red note-book? That is evidence that the ghost was real -enough, I should think.</p> - -<p>We had all seen him alike, only Jack said he “wanted a shave,” which I -hadn’t noticed, and the Professor wrapped his description up in so -many long words that there was no getting at the sense of it—except -that he <i>did</i> see a ghost.</p> - -<p>Aunt Jane didn’t see him at all; she says she’d have died of fright if -she had; and, of course, Mabel, sleeping through the performance as -she did, was perfectly furious. She even went so far as to say we all -made it up among us just to annoy her.</p> - -<p>Mabel and the Professor left the same day soon after that. Mabel -simply couldn’t treat me decently after she knew——</p> - -<p>Oh, and I have another ruby ring, exactly like the one which lies off -Weir Point. And Clifford has oceans of faith in women.</p> - -<div class='ce'> -<div style='font-size:0.8em;'>(The End.) </div> -</div> -<div class="tn"> - <div style='text-align:center'>Transcriber’s Note</div> - <ol> - <li>This story appeared in the July 1904 issue of <i>Lippincott’s Monthly Magazine</i>. - This was her first short story published nationally.</li> - <li>The cover image was created by the transcriber and placed in the public domain.</li> - </ol> -</div> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE GHOST IN THE RED SHIRT ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—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™ electronic works to protect the PROJECT GUTENBERG™ -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™ 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™ 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™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -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™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ 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. “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™ 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™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ 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™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ 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™ 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™ 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™ License must appear -prominently whenever any copy of a Project Gutenberg™ 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: -</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™ 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™ -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™ 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™ 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™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</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™ 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™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ 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™ 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™ 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™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ 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.” - </div> - - <div style='text-indent:-0.7em'> - • 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™ - 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™ - works. - </div> - - <div style='text-indent:-0.7em'> - • 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'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ 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™ 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™ 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™ collection. Despite these efforts, Project Gutenberg™ -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. -</div> - -<div style='display:block; margin:1em 0'> -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™ trademark, and any other party distributing a Project -Gutenberg™ 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 ‘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. -</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™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -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™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ 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™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ 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™’s -goals and ensuring that the Project Gutenberg™ 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™ 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’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. -</div> - -<div style='display:block; margin:1em 0'> -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 -</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™ 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™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ 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™, -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> -<!-- created with ppr.py 2021.12.07 on 2022-02-01 20:09:28 GMT --> -</html> diff --git a/old/67319-h/images/cover.jpg b/old/67319-h/images/cover.jpg Binary files differdeleted file mode 100644 index 0aeb34d..0000000 --- a/old/67319-h/images/cover.jpg +++ /dev/null |
