summaryrefslogtreecommitdiff
path: root/old/68373-0.txt
diff options
context:
space:
mode:
Diffstat (limited to 'old/68373-0.txt')
-rw-r--r--old/68373-0.txt897
1 files changed, 0 insertions, 897 deletions
diff --git a/old/68373-0.txt b/old/68373-0.txt
deleted file mode 100644
index ddddfb1..0000000
--- a/old/68373-0.txt
+++ /dev/null
@@ -1,897 +0,0 @@
-The Project Gutenberg eBook of The Gently Orbiting Blonde, by John
-Victor Peterson
-
-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 Gently Orbiting Blonde
-
-Author: John Victor Peterson
-
-Release Date: June 22, 2022 [eBook #68373]
-
-Language: English
-
-Produced by: Greg Weeks, Mary Meehan and the Online Distributed
- Proofreading Team at http://www.pgdp.net
-
-*** START OF THE PROJECT GUTENBERG EBOOK THE GENTLY ORBITING
-BLONDE ***
-
-
-
-
-
- The Gently Orbiting Blonde
-
- By JOHN VICTOR PETERSON
-
- Illustrated by ENGLE
-
- _Anti-gravity may be hard
- to handle--but a woman
- scorned is still harder!_
-
- [Transcriber's Note: This etext was produced from
- Infinity, April 1957.
- Extensive research did not uncover any evidence that
- the U.S. copyright on this publication was renewed.]
-
-
-Maybe Helene's right in saying that I shouldn't tell exactly how our
-living room became the training station for Space Satellite One. If I
-don't, though, I'm afraid she'll let it slip out as a deep dark secret
-to one of her tri-dielectronic bridge friends and it'll be all over the
-Project as quickly as a pile past critical mass. It certainly wouldn't
-help my reputation at the labs, especially if in the retelling the
-facts should become distorted about Gladys, the gently orbiting blonde.
-
-Some of it was accidental, certainly, but didn't Wilhelm Roentgen get
-brushed by the breeze of chance?
-
-I must have been on the right track, anyhow!
-
-I'll leave it to you....
-
-It's true, I _do_ get absorbed in things. So it happened on the night I
-was married. But I did, after all, carry Helene across the threshold.
-Can I help it that, as I was fetching her a toast, I just happened to
-glance up at the sun-chandelier in our cathedral-ceilinged living room
-and got reminded of the Project and decided I just had to go down into
-my lab in the basement and change one little bit of circuitry? When
-you're working on something as elusive as anti-gravity, you've got to
-seize upon every minute of inspiration.
-
-I told her I'd be right back and dashed downstairs. I guess I should
-have kissed her first. I forgot. I'm sorry now. In a way. If I had,
-maybe--But, let's face it, I forgot.
-
-You could ask old Ruocco, my psych prof. He always says I've
-supernormal powers of concentration.
-
-There I was in the basement. One thing led to another. I rearranged the
-circuitry on the psionic machine and found then that changes in the
-gyrorotors were indicated.
-
-Something intruded vaguely on my mind but I ignored it, enmeshed as I
-was in magnetostriction lines. This just might work!
-
-It didn't. My concentration was disrupted. I glanced at my watch. _Oi_!
-I thought, _Helene!_
-
-And my subconscious told me with sickening certainty that the near
-disturbance I had had, had been the slamming of a door--of the front
-door by someone on the way out.
-
-I went upstairs. Helene was gone, complete with pocketbook. Her valises
-had been in the car and I saw from the living room window that she'd
-taken that.
-
-She'd gone home to Mom, I guessed. She'd have no trouble getting off
-the reservation; she had a nonsensitive job on the Project. Not like
-me; I couldn't get pried out of White Sands by less than Presidential
-order.
-
-It'd be hours before I could try visioing her. Mom's way up in
-Connecticut, quite a hop even by jetliner.
-
-I sat on the chitchat bench, felt sorry for myself for a second and
-then got concentrating on the starchart on the ceiling above the
-sun-chandelier and decided that if man was to start exploring upward
-I'd better continue my exploring downstairs.
-
-But I couldn't concentrate. I fiddled around rewiring the psionic
-machine just to have something to do.
-
-The front door banged again with the loveliest, most satisfying
-solid bang--and I dropped my soldering iron on a printed circuit and
-something went _whoosh_ which wasn't just me going up the stairs.
-Simultaneously a feminine scream came to meet me.
-
- * * * * *
-
-I went up the stairs but when I got to the top I
-didn't--couldn't--stop. I kept going up, making climbing motions and
-touching nothing at all until my head ricocheted off the curving
-ceiling and I bounced down upon my contour chair. I didn't stop there
-but bounced right back up again, vaguely aware that the recoiling chair
-was slowly following me.
-
-During this time I was seeing considerably more stars than you'd see
-from Palomar on a good clear night.
-
-The stars began to blink out of focus, and me in. And then, in the
-midst of marveling over the undeniable fact that I'd discovered--well,
-what about Roentgen?--_discovered_ anti- or at least _null_-gravity, I
-remembered (a) the door slamming and (b) the scream.
-
-I bounced off the ceiling, cartwheeled a bit, glanced off a picture of
-a Viking rocket on the wall which took off on a trajectory of its own,
-and then spun in my orbit and got a look at the blonde.
-
-Now, anyone under normal conditions would have taken a good look at the
-blonde. I was, however, performing what is known in aeronautics as a
-barrel-roll, and my viewing of the blonde was the sweeping scan of a
-surveillance radar.
-
-Not that I hadn't seen the blonde before. I knew her well. Her name is
-Gladys. She's the most gorgeously put-together creature at the Sands.
-Most of the boys would ride bareback on a Nike if she gave them the
-smile she was giving me then.
-
-Gladys was in a gentle orbit as nearly circular as that of Venus. Her
-primary was the sun-chandelier.
-
-I thought then of another Venus. Only Gladys has arms. Her arms were
-bare. In fact, a lot of Gladys was bare and there's a lot of Gladys,
-all nicely proportioned, of course. The sunsuit's designer had
-indubitably been inspired by a Bikini.
-
-I bounced off a sofa, which absorbed some of my inertia, and through
-some frictional freak stopped my axial rotation. I went then into
-an elliptical orbit grazing the chitchat bench at aphelion and the
-chandelier at perihelion.
-
-The thought of Helene crossed my mind in a peculiarly guilty manner,
-and I was rather glad at that moment that Gladys and I weren't on a
-collision orbit.
-
-"Now that you've stopped pingponging," Gladys said, "you might tell
-me how we're going to get out of this fix. And I don't mind behaving
-like an electron but you might make like a positron and come a little
-closer; it's getting cold in here! By the way, where's Helene?"
-
-I don't know why, but I told her. And maybe I did put on an aggrieved
-husband act a bit, but who could blame me?
-
-"Oh, Bill, I'm sorry," she said throatily. "You're so attractive, so
-fine. To think you've been snared by someone who doesn't appreciate
-your worth, your handsomeness, your manly strength. Oh, why couldn't
-you just have given poor little me a glance? After all, we've been
-together in the Project Lab every day. I _know_ you, Bill, and I'm _so_
-sorry!"
-
-And she moved on, lovely, graceful in her gentle orbit, and my heart
-swelled with recognition of her compassion.
-
-I started to make a self-effacing remark, stammered, and finally
-changed my mind and asked, "But how did you happen to come here?"
-
-She sighed. "Business, I'm sorry to state. Jim O'Brien wants you at
-the lab. Thinks he's on the track of anti-grav--and here you have it
-already! Gee, Bill, it _is_ getting cold in here!"
-
-I hadn't noticed.
-
-Just then the thermostat did notice, and the air-conditioning unit cut
-in. Warm air started to blow from the baseboard outlets.
-
-"Bill--"
-
-"Yeah," I answered, trajecting past the chitchat bench and wondering
-if by stretching real hard I could reach it on the next trip round and
-drag myself to it. Then, if it didn't come unplugged I could ground
-(now _that_ was a silly thought!)--I could _stop_ myself and maybe work
-out of the living room along the edge of the tacked-down carpet.
-
-"Bill, if Helene doesn't come back, do you think, maybe--"
-
-I thought, maybe.
-
- * * * * *
-
-Hey, was I imagining things or was my orbit changing? And was Gladys
-smiling more warmly?
-
-Oh, oh! The air-vents were doing it, the air currents from them
-pressing me into a more curving trajectory which would probably graze
-Gladys' orbit.
-
-I was passing the chitchat bench. I flailed out for it, missed, and my
-movement seemed to twist my trajectory even more. I looked at Gladys
-and she was smiling warmly, welcomingly. I thought of Helene and felt
-like a louse. An airborne louse. Without wings, like a louse should
-be. You need wings to fly. If I'd had them I think I'd have flown.
-Elsewhere.
-
-Sure, you can let your conscience be your guide but what can you do
-when you're helplessly warped into a collision orbit with one of the
-loveliest women in the world, a welcoming planet in a closed system of
-your own peculiar manufacture?
-
-The visio started buzzing then and I wondered agonizingly if it were
-Helene. On the other hand, it might be Jim O'Brien wondering why Gladys
-hadn't come back. With no answer, he might come over, but I doubted it.
-Jim's a bachelor and somewhat of a hermit.
-
-Ah, missed on this go-round, but it was close. Gladys' smile told me
-she was paying no heed to the buzzing visio at all.
-
-The sun-chandelier--I could reach it! I caught at one of its sunburst's
-rays. It promptly snapped off, but the action had changed my orbit.
-
-Changed it--and how! Now I was in precisely the same orbit as Gladys
-and gaining! She smiled back over her nicely rounded shoulder. It
-wasn't fair!
-
-I hadn't heard a sound outside, what with the visio buzzing away like
-mad, but the front door was suddenly opened and there was Helene
-starting to come in, a big package in her arms.
-
-"Stay out!" I cried. "Don't come in, Helene!"
-
-I was a split second too late; her foot hit the null-grav area and she
-was suddenly orbiting, her package tumbling off on a trajectory of its
-own, her pocketbook a satellite beside her.
-
-Helene was startled, certainly, but not beyond speech. "Bill Wright,"
-she cried, "you're a beast! You bring me home on our wedding night and
-leave me for your silly machine and without a single solitary drop
-to drink in the servomech and I go out for something and come back
-to find you flying after that blonde hussy!" She swept up around the
-chandelier, her orbit grazing it at perihelion but apparently destined
-to be far remote at aphelion.
-
-"But, dear--" I started.
-
-"Don't dear me!" she cried, and went out of my range of vision just as
-I overtook Gladys and her outflung arms caught me painfully by the
-neck.
-
-Which is when Helene's orbit mercifully turned out to be a collision
-orbit with Gladys'--and she took Gladys away from me like a super-Nike
-taking out a stratojet-bomber. They bounced against the ceiling. Gladys
-took the impact. Rearward. Fortunately Mother Nature had been kind.
-
-Helene bounced away from Gladys. Strands of blonde hair went with her.
-
-"Dark roots!" Helene cried triumphantly.
-
-Gladys said a bad word.
-
-I conjectured.
-
-"Say," I said, but the girls were shouting. I yelled, "Hey!"
-
-They quieted but kept glaring balefully at each other and circled like
-a couple of female wrestlers waiting--but wholly unable--to pounce.
-
-"We're in a pickle," I started.
-
-"_You're_ in a pickle," Helene corrected me.
-
-"Oh, stop it!" I said.
-
-"I didn't start it," Helene said.
-
-Logic!
-
-"Now, look," I said, "we've got to get down. If one of us could only
-manage to grasp something that's fastened--the carpet, a window, a
-doorknob--"
-
-I didn't finish; it was too painfully obvious that none of our orbits
-took us that close to the finite boundaries of my null-grav living
-room. Helene's, I noticed, was the closest. A germ of an idea came into
-my mind as I observed that Helene's handbag was still in a tight orbit
-around her.
-
-"Honey," I said.
-
-She raged at that and made futile fluttering motions as though she
-thought she just might be able to fly.
-
-Perhaps formality was indicated.
-
-"Mrs. Wright," I tried.
-
-Gladys laughed and the irate Mrs. Wright, sweeping close to Gladys'
-orbit at perihelion, made a vicious swipe which neatly tore away a
-considerable portion of the upper part of Gladys' sunsuit, which
-portion went fluttering away on a bat-like trajectory of its own. I
-forgot the portion; the point of departure was more absorbing.
-
-Helene gasped and told me to concentrate on getting us down; but my
-powers of concentration were rather difficult to influence since I was
-in a fixed orbit and, like Mercury or old Luna, my face was turned
-inward and Gladys' orbit was now considerably tighter than mine.
-
-"Well, do something, will you!" Helene cried. "At least, stop leering!"
-
-Now I'm a reasonable man even when befuddled by null-grav, so I tried
-to forget about orbiting hemispheres and to attack the problem of
-reaching terra firma.
-
-I closed my eyes, but promptly became so unoriented that I almost
-became ill; so I opened them again and concentrated on my primary, the
-sun-chandelier.
-
-The visio had stopped buzzing. I hoped that meant that Jim O'Brien--if
-it had been Jim--had figured that something was amiss and was now
-hurrying over in his Caddicopter. He could throw us a line and haul us
-out. Then I threw that hope away. Jim's severely practical; and this
-_was_ to have been my wedding night.
-
-Oh, well....
-
- * * * * *
-
-Could one of us somehow reach the sun-chandelier and short it, thereby
-shorting the machine downstairs? Mentally reconstructing the house's
-electrical circuitry, I concluded that my lab was on a separate circuit.
-
-_Hey! I am confused_, I thought. Helene's handbag! I'd thought of it
-before. Of course! Women carry all sorts of things.
-
-"Helene," I said, "do you have a squeeze bottle in your bag? Perfume or
-hair spray or deodorant, maybe?"
-
-"Bill Wright, if you think for one minute that I'm going to--"
-
-"Have you?" I cut in.
-
-She spluttered. "Perfume," she finally said grudgingly. "Though with
-that eau-de-whatever Gladys is wearing, I should think--"
-
-"Oh, stop it! Now will you please get the perfume out!"
-
-She did; then she went wandering off to aphelion in her orbit and
-momentarily out of my line of sight. When she came back toward
-perihelion with the chandelier, I said, "Now, look, wriggle around a
-little axially if you can--"
-
-That did it. Helene exploded into a verbal nova. "You lecherous beast!"
-she cried. "It isn't enough for you to dally with this shameless blonde
-hussy on our wedding night. Not enough for you to float along looking
-like a blissful ogling ogre, making mental mockery of your wedding
-vows. No, you--you BEM!--you have to ask your meek and retiring, your
-quiet and unassuming, your defenseless and self-effacing wife to act
-like a bumping and grinding burlesque queen!"
-
-And my meek, retiring, quiet, unassuming, etc., wife went on
-etcetera-ing ad practically infinitum.
-
-When swiftly trajecting Helene's tirade paused for lack of words and/or
-breath, I said meekly above the gently orbiting blonde's chuckles, "But
-I was only trying to get us out of this mess. I wanted you to perform
-a slight axial rotation so that you could aim your--er--posterior
-at the cellar door when you next reach aphelion near it. Do you
-understand?"
-
-"No," she said, but did manage by some completely feminine and to me
-quite incomprehensible maneuvers (girdle girding procedure, maybe?) to
-twist ninety degrees axially.
-
-"When I say 'go,' squeeze the spray bottle," I directed, "and keep
-squeezing it hard and keep it pointing straight away from your
-longitudinal axis."
-
-"My _what_? Now, look, what do you think you'll accom--"
-
-"Wait!" I cut her off. "For every action there's an equal and opposite
-reaction, right? I hope you'll widen your orbit when the reaction sets
-in."
-
-She was nearing aphelion. "Go!" I cried.
-
-She did squeeze the spray bottle, and kept squeezing it quickly and
-strongly, but so far as I could judge her orbit wasn't effected one
-whit. Something was accomplished, however, that made our situation more
-desperate: those little droplets of potent perfume proceeded to bounce,
-scatter, splatter and ricochet all over the place. The scent spread.
-Overpoweringly.
-
-"And _you_ talked about _my_ perfume!" Gladys cried and began to giggle
-again.
-
-My gaze wandered toward the lovely albeit space-happy blonde.
-
-"Bill!" Helene cried as she swept across my line of sight. She looked
-like an avenging angel, a very lovely one. She made me feel humble and
-contrite; I went dutifully back to the problem.
-
- * * * * *
-
-It seemed rather hopeless. Both Gladys and I were orbiting nearly
-parallel to the floor in what I was calling the plane of the ecliptic.
-My brief encounter with the chandelier had twisted me into the plane as
-had Gladys' unfortunate but exhilarating encounter with my irate bride.
-
-Helene's orbit was still tilted from the plane, like Pluto's, and was
-curiously elliptical like a comet's. Currents created by the allegedly
-draftless air-conditioning system must have caused and must be
-maintaining the ellipse. Being a newcomer to our tight little system,
-Helene also still had considerable orbital speed whereas air resistance
-would soon bring Gladys and me to a midair stop, probably in inferior
-opposition. I knew what Helene would think of that.
-
-I decided we couldn't do anything individually or jointly unless an
-outside agent were introduced or full advantage taken of something
-already present.
-
-We had cosmic debris, for sure: the flipflopping chaise longue which
-was in a tight orbit near the peak of the cathedral ceiling; the
-framed picture of the Viking rocket (could I ever use a little of
-_its_ thrust now!) fluttering close to the flapping torn part-away of
-the sunsuit down below the plane of the ecliptic; and the big package
-Helene had brought. The last suddenly proved to be on a collision orbit
-with Gladys, curving in then to bump against her derriere. Reaching
-back swiftly she caught it like an errant salesman's hand. I waited
-expectantly.
-
-"Wonderful!" she commented. "Wonderful!" And pulled out a bottle of
-Scotch. I watched in fascinated, gleeful anticipation as she unscrewed
-the cap, and moved the bottle up toward celestial north to reach a
-normal drinking position. Naturally the contents promptly departed;
-then splashed against the arch of the ceiling and went into a thousand
-odd orbits, of which many made moist contact with my own. The
-perfume-Scotch combination--_yoicks!_
-
-"Glad," I said.
-
-"Oh, it's _Glad_ now!" Helene burst.
-
-I ignored her.
-
-"Glad, get the package in your hands like a basketball--"
-
-"Yes, conceal your shame!" Helene cut in acidly.
-
-"Will you stop it?" I cried. "Now, Glad, listen, aim it toward my
-orbit. Lead me a little--there, that ought to do it. Now when I count
-down to zero give it a shove. Ready? Three, two, one--_zero_!"
-
-It was dead on!
-
-I looked in the bag, hoping to find a newly charged carbonation unit
-for the servomech bar. I didn't, but I found something else!
-
-"Helene," I said, "I love you!"--and I drew forth the loveliest magnum
-of champagne you'd ever hope to see.
-
-"But, Bill," Helene cried, "that's to celebrate our wedding night!"
-
-I appreciated the present tense but said nothing, working on the wire
-which bound the cork.
-
-"Bill, remember what happened to the Scotch," Gladys warned me.
-
-I ignored them both, thinking furiously. It _had_ to be Helene! She
-would sweep to the apogee of her cometlike orbit near the cellar door
-again in seconds. I shook the magnum as violently as I could. Its cork
-went whooshing off on a ricochet romance with the Scotch cap. The freed
-and deeply disturbed champagne blasted off straight for the most remote
-point in Helene's orbit--and Helene was there! On target!
-
-I went whirling backward with the reacting magnum against my chest,
-bounced against a wall, smacked against the chandelier, flipflopped
-a few times and found myself orbiting directly below Gladys. I
-re-oriented myself with some effort and found by twisting my head
-sharply that I could see the results of the improvised jet blast:
-Helene, drenched with champagne, stood in gravity on the cellar stairs.
-
-"Dear," I ventured, "just go down and ease off on the rheostat; that'll
-cancel this out gradually and let us down easily."
-
-She made a spluttering noise and went downstairs.
-
-I made a quick survey for a possible safe touchdown area just in case
-Helene inadvertently cut the power too fast; chances were good that
-we'd hit one of the several sofas.
-
-Gladys and I were celestially north of the chitchat bench when Helene
-completely killed the null-grav. The bench, with visio, suffered
-complete collapse; it wasn't meant for sitting down on from twelve feet
-up. Especially with a blonde dropping immediately into one's lap. Lucky
-for me both were nicely padded.
-
-"I'm sorry, Bill," Gladys said, _September Morn_-ing, and hurrying,
-dishevelled and forlorn, out the front door. I heard her car start up
-as Helene came up from the basement.
-
-I ruefully surveyed the shattered visio amid the other debris.
-
-"Null-grav," I said. "Real null-grav. Jim's got to know--but the
-visio's ruined. I've got to go out and call him."
-
-"Oh, no, you don't!" Helene burst. "Null-grav _and_ Jim O'Brien can
-wait until tomorrow!"
-
-She kissed me tenderly then.
-
-"How right you are," I said, getting re-oriented fast.
-
- * * * * *
-
-Now you must excuse me; I've got to degravitize the living room.
-They're due here for training in a few minutes--the Satellite One
-Cadets. I worked out a keyer that remotely controls the null-grav's
-rheostat; it's calibrated to permit creating any sub-gravitational
-effect from one G down to null-G. Those boys are really getting trained.
-
-Someday I'll duplicate the null-grav over at the Project--Jim O'Brien
-and I have nearly got the circuitry licked--and we'll have the living
-room all to ourselves. Jim and his blushing bride--Gladys--come over
-almost every evening after the Cadets are through. We play null-grav
-polo, orbital chess and some other games we've adapted. Our favorite,
-though, is "Pick Your Planet" where we take turns imitating the orbit
-of one of Sol's planets, planetoids, moons or visiting comets, and
-pantomiming other clues.
-
-Funny, but most often Helene or Gladys chooses Venus. With them, poor
-cold old Pluto's out.
-
-Women are funny that way.
-
-*** END OF THE PROJECT GUTENBERG EBOOK THE GENTLY ORBITING
-BLONDE ***
-
-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.