The Project Gutenberg EBook of The Nineteenth Century Apostle of the Little Ones, by E. Uhlrich This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Nineteenth Century Apostle of the Little Ones Author: E. Uhlrich Release Date: June 16, 2011 [EBook #36449] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK THE NINETEENTH CENTURY APOSTLE OF THE LITTLE ONES *** Produced by Michael Gray, Diocese of San Jose THE NINETEENTH CENTURY APOSTLE OF THE LITTLE ONES. BY E. UHLRICH. An article published in THE CATHOLIC WORLD in 1903, about Don Bosco. Today, he is better known as Saint John Bosco, the patron saint of young people. [Illustration: Don Bosco and Bartholomew Garelli.] WHEN one man in his lifetime has cared for, trained, and sent out into the world, as useful and law-abiding citizens, ten million children, then the attention of people may well be drawn to him again and again, for it is the lives of such men that keep the heart of the world from despair. He who was to have such wonderful sympathy and even more wonderful influence on neglected and unfortunate childhood and youth, began his life as a poor, hardworking boy, even as St. Vincent de Paul did in his day. Giovanni Bosco was his name, and he was the son of humble peasants and herded his father's sheep until he was fifteen years old. Then a kindly priest discovered the boy's unusual gifts of mind and heart, and taught him the elements of Latin and Greek. After that Giovanni was sent to the seminary at Chieri, where he was ordained to the priesthood in 1841. Full of zeal to fit himself for his work as a shepherd of souls, he went to Turin and entered an institute for the training of priests in practical work. It is notable that his first experience was in visiting prisons. Here his heart and mind were touched by the spectacle of the many youthful criminals he met, and he was constantly thinking how to reclaim them and, even more important, how to prevent them from entering upon criminal ways at all. It was on the 8th of December, in 1841, that Don Bosco found, in a most humble occurrence, the occasion which showed him the mission for which God had destined him. It was, as so often happens, but a simple thing; but, when we are open to the guidance of the Divine Will, the simplest things may have the greatest import. There was no boy to serve his Mass, and a street-boy, who happened to look into the sacristy, was asked by the sexton to do so. "I do not know how," said the boy. "Never mind," said the sexton; "I'll show you what to do." "But I never was at Mass before." "Stupid creature!" said the sexton, angry now, "what are you doing here then?" And he boxed the boy's ears so hard that the little fellow went off crying. At this Don Bosco turned around and reproved the astonished sexton for his crossness. "But what difference does that make to your reverence?" "It makes a great deal of difference to me, for that boy is my friend. Call him back at once; I must talk to him." The sexton did so and the poor boy came back; Don Bosco asked him kindly if he had never heard Mass before, and he said "No." "Then," said Don Bosco, "stay for this Mass which I am going to celebrate, and when it is over I shall talk to you a little while, if you will wait." The boy, whose heart had been won by Don Bosco's kindly manner, gladly agreed to stay. After Mass, Don Bosco said to him: "What is your name, my little friend?" "Bartolomeo Garelli." "Where are you from?" "Asti." "Is your father still living?" "No, he is dead." "And your mother?" "She is dead too." "How old are you?" "I am fifteen years old." "Can you read and write?" "I don't know anything at all." "Did you make your first Communion?" "No, not yet." "Did you ever go to confession?" "I did when I was very little." "Why don't you go to Sunday-school?" "I am ashamed because the other boys are all younger than I am and know so much more, and I always have such old clothes." "If I were to teach you all by yourself, would you like to come?" "Oh I would be very glad to come, if no one would box my ears for coming." "You need not be afraid of any one. You are my friend now; no one else will have anything to say to you. When shall we begin?" "Whenever it pleases you, father." "Very well, we will begin at once." Don Bosco found that the boy did not even know how to make the sign of the cross. Yet this poor, untaught child of the street became the corner-stone, so to say, of Don Bosco's life-work. In a little while Bartolomeo brought friends of his along, and they in turn brought their friends. By the 25th of March, in 1842, there were thirty members of Don Bosco's class. Some of them were apprentices to the different trades, some were street vagabonds, and some of them grown men. The next year there were three hundred of them. Don Bosco had to find a place of meeting larger than his little sacristy; but, alas! no sooner was he well established in his new quarters than notice was given him to move. People insisted that they did not want him and his noisy, disreputable vagabonds in their own respectable neighborhood. When, at last, there seemed no hope of finding a suitable meeting place in the city for his boys he did not despair. For two months, each Sunday he led them out into the suburbs of Turin, said Mass for them in some church, then taught them under the open sky. Afterwards he let them play games and amuse themselves, and in the evening the whole crowd went back into the city, singing hymns as they went. In 1844, with the help of some kindly priests, Don Bosco opened the first night schools, teaching reading, writing, and arithmetic. These schools were soon imitated all over Italy. Don Bosco, however, continued to meet with trials and tribulations in his work, as seems true in every good cause. His plans were so novel and so large that he was even accused of being crazy. A crazy man, however, ought to be out of harm's way, and so it was quietly arranged that Don Bosco should be taken to an insane asylum. Two prominent gentlemen of Turin were to manage his transfer to the asylum. They hired a closed carriage and drove to Don Bosco's house. He received them very kindly, and soon was talking to them enthusiastically about the oratorium and the great church he wanted to build, the schools and the workshops which would be grouped around this centre. He spoke so glowingly that one could have thought he saw the whole thing before his eyes. The gentlemen looked at each other knowingly, as if to say: "It is plain that he is out of his mind." "A little fresh air will be good for you, Don Bosco," one of them ventured. "We have a carriage outside. You might drive a little way with us." Don Bosco smiled and went out with the two gentlemen. They stepped back in order to let him enter first, but he begged them to precede him. They did so and then Don Bosco hastily shut the carriage door and called out to the driver, "Ready." The driver had been instructed to drive to the asylum as fast as the horses could go, and not to mind any possible protests or resistance. So he started off at a gallop at Don Bosco's word. When the carriage arrived at the asylum, the gentlemen inside were in such a rage that the superintendent ordered them put into separate cells at once, and, if necessary, in straitjackets. Luckily for them, the chaplain of the asylum knew them, and they were let go about their business. However, they at least were convinced that Don Bosco was saner than some people thought him, and did not wish to be the agents of any more forced cures for him. Don Bosco's trials now took another form. The police of Turin began to take note of his boys and to suspect in them potential socialists. Indeed, the very existence of the work was threatened, when King Charles Albert, then King of Sardinia, took personal action in behalf of "Don Bosco's young rogues," as he put it, and even sent sixty dollars to help the work along. With that the worst storms were over. Don Bosco organized his Oratorium of St. Francis of Sales, as he called his meeting place, for he had a special devotion to St. Francis. He chose the name "Oratorium" because the earliest meetings were in the chapel in which he met that first, pitifully ignorant street boy. In the spring of 1846, however, he was homeless once more--put out again for the sake of his boys. Thereupon he leased a piece of enclosed land outside of the city. Here, in the open air, under the free sky, the Sunday meetings were again held undisturbed. Early in the morning Don Bosco was there, seated on a grassy mound and hearing confessions. Some of the boys were kneeling near by, waiting their turn, others were saying their prayers, and still others, farther away, were quietly playing. At nine o'clock Don Bosco called his boys together. He had no bell, so one of the boys beat on an ancient drum as a signal. Then he separated them into little divisions, and sent each division into a particular church to hear Mass. Later they returned, and there was Sunday-school, games, and singing. After awhile a little shed near by was rented and arranged for a chapel. In the fall of 1846 he added a few rooms, and thus he began his first school. To be sure the boys' dormitory was nothing but a hayloft pressed into service, while the housekeeper was Don Bosco's sturdy peasant mother, who had come to the city to help on the work of her beloved son. In 1851 he was able to build a church dedicated to St. Francis de Sales, and two new houses. Now there is a magnificent group of buildings on this same land. The church is in the centre; two imposing wings are the "Oratorium," of which Don Bosco had dreamed and talked so enthusiastically that once people even thought him crazy. The dream has more than come true. There is a little town in itself here. All about are buildings representing various kinds of trades and activity. There is a great printing establishment with ten presses, a book bindery, a large locksmith shop, a carpentering shop, a shoe factory, and a tailoring establishment. There are, moreover, libraries, study-rooms, classrooms, dormitories, gardens, and playgrounds. Over one thousand people live here and follow their various employments. Don Bosco is dead; he died on January 31, 1888. But his work went on under Don Michelle Rua, who was himself an orphan, raised and trained by Don Bosco. Here, in the mother house, are some thirty Salesian priests, as the members of the congregation founded by Don Bosco, at the suggestion of Minister Ratazzi, are called; nearly two hundred Salesian brothers, who are the master workmen, and four hundred students. In addition to the resident pupils that are being trained and cared for, about five hundred boys and apprentices spend their Sundays and recreation hours at the institution, something in the way in which children in this country go to the Settlements that have been established here and there in the large cities. More than one hundred and fifty of these institutions were founded by Don Bosco in Italy, France, Spain, the Tyrol, and England. He also founded a sisterhood, so as to be able to take care of young girls as well as of boys, and to help in the missions which he established in South America, especially in Patagonia, where fourteen thousand savages were baptized by his missionaries before Don Bosco's death. Latterly the sisterhood he founded has been working among the neglected Italians in this country too, especially in New Orleans, and there are Salesian Fathers of Don Bosco in New York City. This special missionary work, however, was not counted in the general estimate of the ten million children saved by Don Bosco. Every year eighteen thousand apprentices leave his institutions and go out to work, trained in body and mind for contact with the world. As a means of maintaining his work, Don Bosco founded a third society to which men and women, lay or clerical, can belong, their object being to help provide means for this great work, and the Holy Father himself belongs to this third society. In appearance Don Bosco, the simple country boy, who was destined to do this great work in this day and age, and to show the world one true way of helping to solve the problems of labor and capital and government that disturb the nations of the earth so much now, was a tall man of very pleasing features and manner. He was not very eloquent as a talker, but his heart was filled with a heavenly love for poor and unhappy childhood. Few of us are so limited in means, or in opportunity, but we can follow him a little way. Even the young children who go to Sunday-school often know, or could easily learn, of some neglected child that has perhaps no parents, or has parents who have no faith, and which therefore hears nothing of religion and of right. Like Garelli, Don Bosco's first pupil and follower, regular Sunday-school children could take such a child to their own Sunday-school. The children of the Paulist Sunday-school in New York City, for instance, are constantly encouraged to bring with them any child they know which does not go to Sunday-school in any other place. If, in addition to its spiritual neglect, the child is in bodily want, bringing it to Sunday-school attracts the attention of older people who are able, on occasion, to give it material as well as spiritual help. To those of us who are older, surely there can be no greater appeal than that of childhood for love and instruction. To withhold these is a more bitter injustice even than to withhold food and clothing. The one causes the body to suffer, but the other may mean the death of the soul, and delivers the body to the lawlessness and to the excesses that lead to untimely death in one generation and help on that lamentable degeneration--physically, morally, and mentally--in the succeeding generations which is, to-day, one of the most discouraging questions in the dark problems of the great cities. And it must always be remembered that among the poor and the unfortunate the inspiration for better things must come from those who have more than they of means, of time, of intelligence, and, above all, of devotion. In every age God seems to have raised up men with a genius for holiness, to speak to the people according to the needs of their day. And thus, in a century in which the powers of darkness were directed towards destroying childhood and youth by godless teaching, and by lack of any teaching at all, either sacred or profane, the providence of Divine Love raised up the humble peasant priest of Turin as an apostle to youth and a bulwark against its enemies. There is a vast margin for the following and the extension of his example right here among us. We have with us always, not only the unfortunate and neglected little ones of every race and color on the earth, but, even more pitiable, those little ones who, by nature and inheritance, would be with us, as a matter of course, were it not for the careless drifting of their parents on the easy and pleasant current of indifference, that spiritual sluggishness in some ways more reprehensible and certainly less respectable than honest doubt or definite unbelief. End of the Project Gutenberg EBook of The Nineteenth Century Apostle of the Little Ones, by E. Uhlrich *** END OF THIS PROJECT GUTENBERG EBOOK THE NINETEENTH CENTURY APOSTLE OF THE LITTLE ONES *** ***** This file should be named 36449.txt or 36449.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/3/6/4/4/36449/ Produced by Michael Gray, Diocese of San Jose Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http://gutenberg.org/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." - You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. - You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. - You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need, 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 web page at http://www.pglaf.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Its 501(c)(3) letter is posted at http://pglaf.org/fundraising. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email [email protected]. Email contact links and up to date contact information can be found at the Foundation's web site and official page at http://pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director [email protected] Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit http://pglaf.org While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: http://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart is the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: http://www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.