The Stuff

By Henry Slesar

The Project Gutenberg EBook of The Stuff, by Henry Slesar

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/license


Title: The Stuff

Author: Henry Slesar

Release Date: March 27, 2016 [EBook #51574]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK THE STUFF ***




Produced by Greg Weeks, Mary Meehan and the Online
Distributed Proofreading Team at http://www.pgdp.net









                               THE STUFF

                            By HENRY SLESAR

                         Illustrated by Ritter

           [Transcriber's Note: This etext was produced from
                     Galaxy Magazine August 1961.
         Extensive research did not uncover any evidence that
         the U.S. copyright on this publication was renewed.]




                   Would it work? Yes. How would
                   it work? Exactly  like  this.


"No more lies," Paula said. "For God's sake, Doctor, no more lies. I've
been living with lies for the past year and I'm tired of them."

Bernstein closed the white door before answering, mercifully obscuring
the sheeted, motionless mound on the hospital bed. He took the young
woman's elbow and walked with her down the tiled corridor.

"He's dying, of course," he said conversationally. "We've never lied to
you about that, Mrs. Hills; you know what we've told you all along. I
hoped that by now you'd feel more resigned."

"I was," she said bitterly. They had stopped in front of Bernstein's
small office and she drew her arm away. "But then you called me. About
this drug of yours--"

"We had to call you. Senopoline can't be administered without
permission of the patient, and since your husband has been in coma for
the last four days--"

He opened the door and nodded her inside. She hesitated, then walked
in. He took his place behind the cluttered desk, his grave face
distracted, and waited until she sat down in the facing chair. He
picked up his telephone receiver, replaced it, shuffled papers, and
then locked his hands on the desk blotter.

"Senopoline is a curious drug," he said. "I've had little experience
with it myself. You may have heard about the controversy surrounding
it."

"No," she whispered. "I don't know about it. I haven't cared about
anything since Andy's illness."

"At any rate, you're the only person in the world that can decide
whether your husband receives it. It's strange stuff, as I said, but in
the light of your husband's present condition, I can tell you this--it
can do him absolutely no harm."

"But it will do him good?"

"There," Bernstein sighed, "is the crux of the controversy, Mrs.
Hills."

       *       *       *       *       *

Row, row, row your boat, he sang in his mind, feeling the lapping
tongues of the cool lake water against his fingers, drifting, drifting,
under obeisant willows. Paula's hands were resting gently on his eyes
and he lifted them away. Then he kissed the soft palms and pressed them
on his cheek. When he opened his eyes, he was surprised to find that
the boat was a bed, the water only pelting rain against the window, and
the willow trees long shadows on the walls. Only Paula's hands were
real, solid and real and comforting against his face.

He grinned at her. "Funniest damn thing," he said. "For a minute there,
I thought we were back at Finger Lake. Remember that night we sprang a
leak? I'll never forget the way you looked when you saw the hem of your
dress."

"Andy," she said quietly. "Andy, do you know what's happened?"

He scratched his head. "Seems to me Doc Bernstein was in here a while
ago. Or was he? Didn't they jab me again or something?"

"It was a drug, Andy. Don't you remember? They have this new miracle
drug, senopoline. Dr. Bernstein told you about it, said it was worth
the try...."

"Oh, sure, I remember."

He sat up in bed, casually, as if sitting up in bed were an everyday
occurrence. He took a cigarette from the table beside him and lit one.
He smoked reflectively for a moment, and then recalled that he hadn't
been anything but horizontal for almost eight months. Swiftly, he put
his hand on his rib cage and touched the firm flesh.

"The girdle," he said wonderingly. "Where the hell's the girdle?"

"They took it off," Paula said tearfully. "Oh, Andy, they took it off.
You don't need it any more. You're healed, completely healed. It's a
miracle!"

"A miracle...."

She threw her arms about him; they hadn't held each other since the
accident a year ago, the accident that had snapped his spine in several
places. He had been twenty-two when it happened.

       *       *       *       *       *

They released him from the hospital three days later; after half a year
in the hushed white world, the city outside seemed wildly clamorous and
riotously colorful, like a town at the height of carnival. He had never
felt so well in his life; he was eager to put the strong springs of
his muscles back into play. Bernstein had made the usual speech about
rest, but a week after his discharge Andy and Paula were at the courts
in tennis clothes.

Andy had always been a dedicated player, but his stiff-armed forehand
and poor net game had always prevented him from being anything more
than a passable amateur. Now he was a demon on the court, no ball
escaping his swift-moving racket. He astounded himself with the
accuracy of his crashing serves, his incredible play at the net.

Paula, a junior champion during her college years, couldn't begin to
cope with him; laughingly, she gave up and watched him battle the club
professional. He took the first set 6-0, 6-0, 6-0, and Andy knew that
something more magical than medicinal had happened to him.

They talked it over, excited as schoolchildren, all the way home. Andy,
who had taken a job in a stock-brokerage house after college, and who
had been bored silly with the whole business until the accident, began
wondering if he could make a career on the tennis court.

To make sure his superb playing wasn't a fluke, they returned to the
club the next day. This time, Andy found a former Davis Cup challenger
to compete with. At the end of the afternoon, his heart pounding to
the beat of victory, he knew it was true.

That night, with Paula in his lap, he stroked her long auburn hair and
said: "No, Paula, it's all wrong. I'd like to keep it up, maybe enter
the Nationals, but that's no life for me. It's only a game, after all."

"Only a game?" she said mockingly. "That's a fine thing for the next
top-seeded man to say."

"No, I'm serious. Oh, I don't mean I intend to stay in Wall Street;
that's not my ambition either. As a matter of fact, I was thinking of
painting again."

"Painting? You haven't painted since your freshman year. You think you
can make a living at it?"

"I was always pretty good, you know that. I'd like to try doing some
commercial illustration; that's for the bread and potatoes. Then, when
we don't have to worry about creditors, I'd like to do some things on
my own."

"Don't pull a Gauguin on me, friend." She kissed his cheek lightly.
"Don't desert your wife and family for some Tahitian idyll...."

"What family?"

She pulled away from him and got up to stir the ashes in the fireplace.
When she returned, her face was glowing with the heat of the fire and
warmth of her news.

Andrew Hills, Junior, was born in September. Two years later, little
Denise took over the hand-me-down cradle. By that time, Andy Hills was
signing his name to the magazine covers of America's top-circulation
weeklies, and they were happy to feature it. His added fame as
America's top-ranked amateur tennis champion made the signature all the
more desirable.

       *       *       *       *       *

When Andrew Junior was three, Andrew Senior made his most important
advance in the field of art--not on the cover of the _Saturday Evening
Post_, but in the halls of the Modern Museum of Art. His first exhibit
evoked such a torrent of superlatives that the _New York Times_ found
the reaction newsworthy enough for a box on the front page. There was
a celebration in the Hills household that night, attended by their
closest friends: copies of slick magazines were ceremoniously burned
and the ashes placed in a dime-store urn that Paula had bought for the
occasion.

A month later, they were signing the documents that entitled them to a
sprawling hilltop house in Westchester, with a north-light glassed-in
studio the size of their former apartment.

He was thirty-five when the urge struck him to rectify a sordid
political situation in their town. His fame as an artist and
tennis-champion (even at thirty-five, he was top-seeded in the
Nationals) gave him an easy entree into the political melee. At first,
the idea of vote-seeking appalled him; but he couldn't retreat once the
movement started. He won easily and was elected to the town council.
The office was a minor one, but he was enough of a celebrity to attract
country-wide attention. During the following year, he began to receive
visits from important men in party circles; in the next state election,
his name was on the ballot. By the time he was forty, Andrew Hills was
a U.S. Senator.

That spring, he and Paula spent a month in Acapulco, in an enchanting
home they had erected in the cool shadows of the steep mountains that
faced the bay. It was there that Andy talked about his future.

"I know what the party's planning," he told his wife, "but I know
they're wrong. I'm not Presidential timber, Paula."

But the decision wasn't necessary; by summer, the Asiatic Alliance had
tired of the incessant talks with the peacemakers and had launched
their attack on the Alaskan frontier. Andy was commissioned at once as
a major.

His gallantry in action, his brilliant recapture of Shaktolik, White
Mountain, and eventual triumphant march into Nome guaranteed him a
place in the High Command of the Allied Armies.

By the end of the first year of fighting, there were two silver stars
on his shoulder and he was given the most critical assignment of
all--to represent the Allies in the negotiations that were taking place
in Fox Island in the Aleutians. Later, he denied that he was solely
responsible for the successful culmination of the peace talks, but
the American populace thought him hero enough to sweep him into the
White House the following year in a landslide victory unparalleled in
political history.

He was fifty by the time he left Washington, but his greatest triumphs
were yet to come. In his second term, his interest in the World
Organization had given him a major role in world politics. As First
Secretary of the World Council, his ability to effect a working
compromise between the ideological factions was directly responsible
for the establishment of the World Government.

When he was sixty-four, Andrew Hills was elected World President, and
he held the office until his voluntary retirement at seventy-five.
Still active and vigorous, still capable of a commanding tennis game,
of a painting that set art circles gasping, he and Paula moved
permanently into the house in Acapulco.

He was ninety-six when the fatigue of living overtook him. Andrew
Junior, with his four grandchildren, and Denise, with her charming
twins, paid him one last visit before he took to his bed.

       *       *       *       *       *

"But what _is_ the stuff?" Paula said. "Does it cure or what? I have a
right to know!"

Dr. Bernstein frowned. "It's rather hard to describe. It has no
curative powers. It's more in the nature of a hypnotic drug, but it has
a rather peculiar effect. It provokes a dream."

"A dream?"

"Yes. An incredibly long and detailed dream, in which the patient lives
an entire lifetime, and lives it just the way he would like it to be.
You might say it's an opiate, but the most humane one ever developed."

Paula looked down at the still figure on the bed. His hand was moving
slowly across the bed-sheet, the fingers groping toward her.

"Andy," she breathed. "Andy darling...."

His hand fell across hers, the touch feeble and aged.

"Paula," he whispered, "say good-by to the children for me."





End of the Project Gutenberg EBook of The Stuff, by Henry Slesar

*** END OF THIS PROJECT GUTENBERG EBOOK THE STUFF ***

***** This file should be named 51574.txt or 51574.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/5/1/5/7/51574/

Produced by Greg Weeks, Mary Meehan and the Online
Distributed Proofreading Team at http://www.pgdp.net


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/license

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 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 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.