The Project Gutenberg eBook of On Strike, by Edric Glenfield 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: On Strike or, Where do the Girls come in? Author: Edric Glenfield Release Date: October 1, 2021 [eBook #66439] Language: English Produced by: Martin Pettit and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from scans of public domain works at The National Library of Australia.) *** START OF THE PROJECT GUTENBERG EBOOK ON STRIKE *** ON STRIKE, OR Where do the Girls come in? BY EDRIC GLENFIELD. DEDICATED TO ALL HIS AUSTRALIAN SISTERS BY THE AUTHOR. SYDNEY: GIBBS, SHALLARD & CO., PRINTERS & PUBLISHERS 84A PITT STREET. 1890. ON STRIKE, OR WHERE DO THE GIRLS COME IN? Reginald Oofbourne was born with the proverbial silver spoon in his mouth. It is not necessary for the purpose of this work to say how his family acquired their wealth, but at the age of twenty-one he was approximately worth six million pounds sterling. He was deeply in love with a young lady who was born in a village adjoining his own property. His love was no sudden infatuation. He had carried Edith Marton in his arms as a baby, he had worshipped the sweet child of twelve, and when she reached the age of eighteen he was madly in love with her. They were about to be married, when one afternoon Edith, who was riding on the banks of the Thames, near Slangbourne, with her great friend, Mrs. Croolbred, met with a serious and, as after events proved, a fatal accident. Her horse shyed at an amateur photographer, and she was thrown violently on the road. Assistance was at once obtained, and she was carried home insensible. Reginald Oofbourne was at once sent for, but only arrived in time to see his darling girl expire in his arms. Before she died she was able only to say a few words, and her last request to her devoted lover was--“Promise me, Reggy, that you will devote your enormous wealth to benefit any of my sex who require assistance throughout the world.” “I promise, darling,” replied the distracted lover, and Edith fell back dead. I will draw a blank over the next few days. Our hero was struck down with an attack of brain fever, and his life was despaired of. He, however, was rescued when on the brink of the grave by the careful nursing of a few devoted friends. When he became convalescent he was a broken-hearted man, but by his promise his life and wealth were devoted to the benefit of the female sex throughout the world. For some twenty years Reginald travelled about, totally unsettled, doing good to womankind whenever opportunity occurred. On one occasion he fed twenty thousand starving Chinese school-girls on Bath buns, which he imported from England by a special steamer for the occasion. However, no opportunity had occurred for our hero to do any great thing to prove himself the champion of womankind until he took an idea into his head to visit Australia. He arrived in Sydney by the Orient steamer “Cuzco” in September, 1890, and, on landing, found the city in a state of ferment owing to the great maritime strike. Though he had no sympathy with the unionists, he naturally came in contact with some of them, and could not help discussing the question, as nobody talked about anything else. Federation, the great hobby of the Australians, was forgotten for a time. Reginald could not see that the men who were on strike had any particular grievance, but he realised that the children were suffering on account of their fathers being out of work, and so he spent most of his time driving about in cabs loaded with fruit and food of all descriptions, which he distributed to the children about Miller’s Point and Sussex Street. One day he happened to go into the establishment of Cordons, the great drapers, to buy a pair of gloves, and he was served by a young woman whom he noticed looked very pale and careworn. He got into conversation with her, in spite of the frowns of the shop-walker. In a short time he found out exactly how the respectable working girls, who were trying to earn an honest living in Sydney, are treated, and he found that they had three particular grievances, viz.:-- Too long hours, Too little wages, And not allowed chairs --that is, not allowed to sit down when not serving customers. He went further into the question, and he found out that Messrs. Cordon and Co. treated their girls well in comparison to another firm of the name of Paul Pry, who keep open at night, whereas Cordon’s always close at six o’clock. There are some mercantile establishments in Sydney which it is advisable for the public convenience should be kept open till a late hour, as their customers are principally men who are working all day, and can only get away after six o’clock to purchase any articles they may require. I allude to such a business as that of Ringbourne, of George Street, the bootmaker, whose business is done amongst seafaring men, and Ringbourne, by keeping open, is benefitting the public as well as himself, but the people who deal with the drapers’ shops are mostly women, who can do their shopping in the afternoon, and have no need to do it at night. It must be remembered that the class of young women I am alluding to, on account of the way in which they behave, have as much right to be treated with proper respect as the Governor’s wife has. But are they treated as they ought to be? Yes, by the gentlemen who go in on business, but not by the shop-walkers and other men who are in authority over them. It is generally known that barmaids are looked down upon on account of the position they hold. I myself should not wish to see my sister behind a bar; but if my sister was in Australia, and had to work for a living, I would sooner see her behind some of the bars in Sydney than in a situation in a firm of the description of Lazy, Bones and Co., Cordon, or Paul Pry. Of course, as everybody knows, there are bars _and_ bars, barmaids and barmaids; but in the respectable hotels a girl who behaves herself is treated better and leads a better life and gets higher pay than the female employees in firms of the description of those I have mentioned. I might refer to a hotel in Sydney which is well-known by the name of Nodoubts. In this hotel the young women are treated as well and with as much respect as it is possible to treat a woman who has to work for her livelihood, but at the same time the barmaids in Nodoubts would sooner be behind a counter in the employment of one of the leading drapers in Sydney, if they got proper pay and treatment, than behind any bar. The Hero, having ascertained that the women in Sydney had some real grievances, at once set about to rectify them. He consulted with some friends in Sydney whose sympathy was on the side of the working girls, and they organised a system of campaign for the girls’ strike. Every respectable girl earning her own living was called out on strike, and received a pound a week out of Reginald’s own pocket. About five thousand girls came out, and the employers at once filled up their places with union men who were out of employment owing to the late strike amongst the men. Of course, the fact of having wharf labourers and officers of the steamers employed in the place of the girls in these establishments caused a great deal of annoyance to the Sydney public generally. It is a well-known fact that there are certain articles which a lady may require which she can only ask a woman to serve her with, and, though the capitalists themselves were opposed to the strike, their wives, feeling the inconvenience they were subjected to, were urging them when at home to give in to the demands of the strikers. A girl on strike also has a great advantage over a man in a similar position. When a man strikes he is unable to work at all; he can do nothing but walk about the streets with his hands in his pockets, looking absolutely miserable; the girl on the other hand can always employ herself at home doing needlework, or some other useful occupation, which would at the same time bring in a certain amount of money towards her support. It was felt by Inspector Gooseberry and his staff that precautions must be taken to protect the city against any possible outbreak amongst the girl strikists. Though the girls had behaved in a thoroughly lady-like manner, still 5,000 of them walking about Sydney together caused a great deal of inconvenience to the public, and traffic generally was much incommoded. To make an example, the Inspector-General ordered a constable to arrest one of the girl strikers. The policeman, who was a timid man where a woman was concerned, walked up to the girl, who was very pretty and well-dressed, and half raising his helmet stammered something about being very sorry, but would she mind coming with him? “Certainly I do, you impertinent fellow,” replied the girl, “I have a good mind to give you in charge; anyway I will tell my ma.” The constable blushed, as only a policeman can blush, and, muttering an apology, returned to Inspector Gooseberry, and told him he was unable in this case to obey orders. Gooseberry at once saw what a difficulty he was placed in, and retired to his office in a most dejected state of mind. Next morning an advertisement appeared in the _Morning Terror_, requesting any persons having had experience in quelling girl strikers to call on the Inspector-General. About eleven o’clock a carriage dashed up to the office, and a fashionably-dressed lady alighted from it, giving her card, on which was engraved Mrs. Pitcher, Potts’ Point, to a constable; she requested to see Inspector-Gooseberry. She was immediately ushered into his sanctum, and when the Inspector recognised her, a smile of satisfaction lit up his face. “I have come to offer a suggestion to you in the present crisis.” “Mr. Gooseberry,” said she, “you find that you are unable to control these respectable young women with your present force! What you must do is to raise a force of special girl constables.” Gooseberry at once saw the wisdom of this idea, and thanked Mrs. Pitcher warmly. He immediately advertised, inviting 1500 of the Sydney young ladies to come to the assistance of the Government, and act as special constables. Next day the whole of Phillip-street was blocked with the carriages of the _elite_ of Sydney society. The Miss Canarykins were the first to join, and their example was quickly followed by all the other young ladies. It was decided that the force should be dressed in uniform, the choice of which was left to Mrs. Pitcher, who was also aided by Busybee who kindly offered her assistance. These ladies decided upon the following uniform:--It was to be full dress, as no undress was thought necessary, and to consist of white silk blouses, blue serge skirts, and sailor hats, with Oxford blue ribbons; the badge for the constables was a gold hat-pin, modelled after an oar, on the blade of which was engraved S.G.C.; the officers, in addition to this, wore a plain gold bangle similarly engraved. The Government also thought it as well to raise a corps of 100 special mounted girl constables, and Captain Easton was sent for and requested to allow his two daughters, who are generally admitted to be two of the best lady riders in the colony, to take charge of this corps and organize it. He readily consented, and, after some deliberation, the uniform of the troopers was arranged; it was to consist of a blue serge habit, hussar tunic, with scarlet facings and slung jacket; the head dress, opossum skin hussar busby. The young lady troopers were all to be mounted on black chargers, and armed with riding whips only. The officers’ badges to be a gold horseshoe bangle. The constables from numbers 1 to 200 were ordered to parade in the yard at the head office of police at 4 o’clock in the afternoon, and, as may be imagined, a great many applications were made to Mr. Gooseberry by some of the leading men in Sydney to be allowed to be present at the drill. Only a few, however, were allowed in, and those mostly officers of the Navy and Land Defence Forces. The uniforms of the first two companies had been rapidly made, partly by the constables themselves, and partly by Free Labour, and very pretty the young Australian ladies looked as they fell in by companies in the yard. The officers were selected from those young ladies who had had any experience with the Navy, Army, or Volunteers, and it was remarked that there was a decided majority on the side of the Navy. After the officers had been selected the roll was called, and Mr. Gooseberry gave the command to No. 1 company to size. Some fun was occasioned by one young lady who, as soon as the Inspector-General said size, mistaking his meaning, stepped forward and answered, “Oh, I take five and three-quarters, six buttons, tan, if you please.” The Captain of number two also made a slight error, as, when requested to form her company into fours, she gave the command “All fours,” which was literally obeyed by most of the company, who fell on their hands and knees. However, with the exception of these trifling errors, the drill was altogether most creditable, as was allowed by Colonels Scalding, Major Darey and Capt. Pathan, who were looking on and chatting about the happy days they had spent together in the Soudan. When the drill was over the companies were served out with Gem air guns, and after a few instructions had been given, in case of any emergency, the parade was dismissed. The following day the next two companies were paraded, and so on day by day with the others until the whole were properly organized. The mounted lady troopers had in the mean time been exercised in the Domain, and were subjected to some little annoyance on the first day by the strikers pelting them with rotten chocolate drops. However, they showed great firmness, and arrested some of the ringleaders, and then the mob dispersed. After this they were allowed to drill without molestation. In the mean time public business was in a great many cases seriously interfered with. Not only was the inconvenience which I have mentioned before of having men to fill the girl’s places in the shops seriously felt, but the girl constabulary themselves unwittingly became a source of annoyance to the managers of the leading banks and mercantile houses, as, when a company of the girl constabulary was marched through any portion of Sydney to quell a disturbance, there was at once a cry, “Here come the girl police;” bank clerks left their counters, barristers ran out of court, and in one or two instances men were actually known to leave their matutinal B. and S. untasted on the bar, and rush to the doors to stare with enraptured eyes at this beautiful contingent. The girls on strike were very jealous of the admiration excited by the girl constabulary, and they decided if possible to organize a grand procession; with this idea a deputation waited on Reginald Oofbourne, and asked for his assistance. He readily consented to arrange the procession, regardless of expense, and, with the assistance of some of the leaders of art in Sydney, he organized one of the most splendid sights that has ever been seen. The whole of the ladies employed in the different theatres gave their services for nothing, and were commanded in the procession by Miss Trueheart, who is an Australian, and is known to have the greatest sympathy with all her poorer sisters in the Colony; they were all beautifully dressed to represent different characters in history; the banners, which were all specially painted for the occasion, exceeded in beauty and design the magnificent ones which had been carried through the street in the late strike amongst the men, and the best girl musicians had been brought, regardless of expense, from all parts of Australia, and formed into bands, which played at the head of each company as they marched, such appropriate tunes as “Over the Garden Wall,” “We won’t go home till Morning,” etc. The procession eventually reached the Domain, where they halted, and speeches were made in favour of Women’s Rights, Home Rule, etc.; they then broke up, and returned to their homes. As time went on, one or two slight disturbances took place amongst the strikers; some of them who were of Dutch extraction had been arrested for ill-treating a very small free labourer, but on the whole they behaved very well. Of course, by this time it was known where the money was coming from to support the strike, and as the capitalists saw it was useless to prolong it any further, they held a meeting at the Exchange, and after an interview with the delegates from the girls’ union, they decided that there was no use attempting to hold out any longer, and so they yielded every point asked for with as good a grace as possible; in fact, during the conference, one of the capitalists was so struck with the beauty and good sense of a girl delegate, that a wedding will soon take place, when we shall see that desirable end obtained of Capital united to Labour. As soon as the girls gained their point, of course, they returned to work, and ceased to draw the strike money which our hero had allowed them. The girl constabulary were disbanded, but not before the Government had recognised their great services by giving them a splendid fancy dress ball at the Centennial Hall, at which they all appeared in their uniforms, and which was generally admitted was even a more brilliant and successful affair than the great banquet given by the Government to the gentlemen of the special constabulary at the Prince Alfred Exhibition Building, on the termination of the great maritime strike a short time previously. It is whispered amongst people who are generally well posted in coming events that Reginald was so much struck with the charms of one of the young lady troopers he met at the Constabulary Ball, that it is possible there may be some happiness left for him yet, though he will never forget the great sorrow of his early days, and can never even now look upon an amateur photographer without shuddering. THE END. GIBBS, SHALLARD & CO., PRINTERS, 84A PITT STREET, SYDNEY. *** END OF THE PROJECT GUTENBERG EBOOK ON STRIKE *** 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.