The winner and new...

By Ib Melchior

The Project Gutenberg eBook of The winner and new...
    
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this ebook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.

Title: The winner and new...

Author: Ib Jørgen Melchior

Illustrator: Ed Moritz

Release date: February 28, 2026 [eBook #78073]

Language: English

Original publication: New York: King-Size Publications, Inc, 1956

Credits: Tom Trussel (This file was produced from images generously (This file was produced from images generously made available by The Luminist Archive)


*** START OF THE PROJECT GUTENBERG EBOOK THE WINNER AND NEW... ***




                         The Winner and New...

                             by Ib Melchior




  _We have long been convinced that there is something about science
  fantasy which attracts, in electro-magnetic fashion, the brilliant
  sons of famous authors, artists, actors, physicians and tenors.
  Fritz Leiber, Jr., Manly Wade Wellman, and Samuel Merwin, Jr. are
  three writers of distinction in the genre we could mention in this
  connection. And now comes Ib Melchior with his second story for us,
  to strengthen our conviction quite unshakably. It is both gratifying
  to find a pet theory confirmed and to publish a story as unusual as
  this by a TV director who can tune in on the future at will!_

  =A TV Emcee may assume anything he wishes about the big question
  contest lads. But it’s unusual when they know all about Mars!=




“Hello-hello-hello! This is Bob May wishing a wonderful Quizz Night to
one and all!”

The effervescent young man came bounding out on the brilliantly lighted
stage of the gigantic Capitol Coliseum. The perpetual smile never left
his handsome face, but a note of studied sincerity crept into his voice
as he continued:

“From all of us here I want to welcome all of you out there in the
Coliseum auditorium, and all you folks gathered around the over one
hundred million TV sets watching us tonight. Yes, folks, tonight’s the
night! The one day in the week I know you impatiently wait for. But
before we settle down to the important business at hand, here is a
little message which I know will be of interest to you.”

The lights pouring down upon the young Quizz Master dimmed, and
simultaneously another part of the big stage became brightly
illuminated. The small tally lights on the TV camera aimed at the area
sprang to life with a red glow. A breathtakingly beautiful girl stood
smiling in front of the camera. After a musical fanfare she addressed
the vast, unseen TV audience, her honied words rolling off her tongue
in dulcet, sexy tones.

“Hi! Here I am again, your own Barrie Rose, to tell you about a
_simply super_ new product created for you by those _wonderful_ people
at REJUVENATION! Remember, only REJUVENATION products are _The Real
Thing_--accept no substitutes! And now REJUVENATION has come up with
something brand new. It is ...”

The orchestra launched into an impressive fanfare.

“... REJUVENATION’S new, unequaled _Plasti-Form Spray!_ It comes in
eight gorgeous, life-like colors and textures. Tough-hard _Plasti-Form
Spray_ for men, and soft, silken textures for women. Are you
dissatisfied with your build? Is your figure sub-standard? If you
want masculine muscles or enticing curves get REJUVENATION’S all-new
_Plasti-Form Spray!_ So easy to apply a child of five can do it! Take
Barrie Rose’s word for it, REJUVENATION’S _Plasti-Form Spray_. It’s
marvelorious!! And now, back to Bob May, and the contest you’ve all
been waiting for.”

Again the lights bathed the Quizz Master with their brilliance. This
time the young man was joined by two others--one a rather stout, partly
bald gentleman with old-fashioned rim-glasses, the other a younger,
more robust looking fellow with a shock of iron-gray hair.

“Well, well, here we are again! And here, Ladies and Gentlemen, are our
contestants. I hardly need introduce our Incumbent to you--forty-nine
weeks undefeated. Here he is--_Charles Monroe!_” The little stout man
stepped forward and took a bow. The applause was thunderous in the vast
hall. Then Monroe nervously fingered his rim-glasses and returned to
his place.

“And here, Ladies and Gentlemen, we have this week’s Challenger, Mr.
_James Burton!_”

The applause was almost as deafening. Burton stepped forward and waved
confidently to the multitude.

Bob May quickly interposed: “Folks! You all know how The Quizz is
held--and how important it is. You remember that Mr. Monroe’s category
is _Philately_--and he certainly has shown us that there’s little he
doesn’t know about postage stamps!”

He turned purposefully to Burton. His voice was tense with excitement
as it rang out in the hushed auditorium: “And now, Mr. Burton, will you
tell us--_what is your category?_”

A gaudy, multi-colored panel of many category listings suddenly blazed
on across the back of the stage. Burton slowly turned and regarded the
panel. The huge auditorium was whisper-silent. Then Burton said: “_The
Planet Mars!_”

Bob May fairly jumped off the stage in his tempestuous excitement.
“Ladies and Gentlemen! Our Challenger picks as his quizz category--_The
Planet Mars!_”

The audience roared its delight.

“All right! You both know what to expect. The questions in your
respective categories are selected by our own Univac Cybernetic Brain.
No human being knows what they will be until _I_ ask you the questions!
Are you ready?”

Monroe swallowed nervously and adjusted his funny spectacles. He nodded.

Burton answered: “Yes, sir, Mr. May!”

“Good! As you know each one of you will be asked questions of
increasing difficulty--until one of you misses! The survivor is the
winner! But just so that you will have no outside disturbances--or
help--” he waved a waggish finger at them--“you’ll be enclosed in the
special Force-Field. Nothing can penetrate, no light, no sound, no
telepathic prompting! We can all see you, but you can’t see us. That
should be a comfort!”

He laughed uproariously at his own joke. “Only _I_ can talk to you
through my special communicator. But we can all hear your answers. And
now--are you ready?”

Both contestants nodded.

“Here we go, then! But first....”

The commercial message by Barrie Rose over the cameras once again
focused on Bob May and the two contestants. Around both the Incumbent
and the Challenger hovered a curious shimmering, completely transparent
shell. As the cameras went on, two metal rods ending in small
cylindrical two-way transmitter heads rose out of the floor in front of
each of the two contestants.

May adjusted his throat transmitter. “Can you hear me, gentlemen?” he
asked.

“Yes,” croaked Monroe. He had a frog in his throat.

“Perfectly,” said Burton.

“Stand by for your first question then, Mr. Burton,” said May.

He turned to Barrie Rose who was standing off to one side.

“The first question from Univac,” he said tensely.

Barrie Rose touched a button. Immediately a multitude of flashing
lights on a huge panel traced an intricate pattern across the banks
upon banks of small bulbs on the board. In less than a second there was
an audible click, and Barrie Rose extracted a printed card from the
machine. On it was Burton’s first question. Bob May winced when he read
it.

“Mr. Burton,” he said, his voice ominously serious, “here it is: One of
the most amazing cases of the purest coincidence known to the history
of astronomy occurred when a medieval author in a book of fiction
predicted that Mars has _two moons!_ For your first question--what was
the name of the book? Who wrote it? And when was it published?”

Burton’s brow knitted. The audience held its breath. It was not an
easy question. Would the Challenger flunk out at his first try? Then
Burton straightened up: “The book was ‘Gulliver’s Travels,’ published
in seventeen twenty-six and written by one Jonathan Quick--no.
_Swift_--Jonathan Swift!”

“Correct!” shouted Bob May.

The audience applauded wildly.

“Mr. Monroe’s first question, Barrie Rose!”

“Here it is!” Bob May read earnestly: “One of the former Presidents of
the United States was a famous stamp collector. During a war fought
under his administration he advocated the occupation of a small island
by United States troops because of his knowledge of that island through
his hobby. For _your_ first question--who was the President? What was
the name of the island? In which postal district was it situated?”

Almost before May had finished reading the question Monroe answered:
“Franklin Delano Roosevelt. The island was Mangareva in the postal
district of Tahiti!”

“Right, Mr. Monroe! Right!” bellowed the Quizz Master, and the audience
clapped and whistled and stamped its feet.

The questioning continued. The contestants ran neck to neck. But the
strain began to tell. Monroe’s glasses--forgotten--slid down his nose;
Burton’s shock of hair became disarranged. They had been at it for more
than two hours, interrupted only by the REJUVENATION commercials after
each set of questions.

The tension in the audience and throughout the nation was mounting. And
still Bob May kept on asking questions: “Your seventeenth question,
Burton. What is the highest point on Mars? How high is it? Who
discovered it, and when?”

“Mount Kepler! It’s a little over eighteen thousand feet above Canal
Level. Discovered by Captain Peter Eriksen on the Third Martian
Expedition in the year two thousand and seventeen.”

“Correct!”

“Monroe--question seventeen for you. On what Twentieth Century stamps
do you find the overprint, Z.A.? What do these letters stand for?”

“On stamps from old Armenia. Z.A. stands for _Zapadnya Armia_, meaning
Western Army!”

“Correct!”

“Burton, number eighteen--it’s a toughie! Of the over nine thousand
different Martian plants, eight thousand and five are lichens and
mosses. Of the remaining varieties which one is the rarest, and how
does this plant multiply?”

Burton ran his hands through his already disheveled hair. His voice
had long ago lost its cockiness. He hesitated in concentration for a
moment, and then said: “I believe it’s the Lizard Cactus. Its needles,
bearing the spores, get stuck between the scales of the Lesser Canali
Lizard and poison it. Then it uses the moisture of the animal to start
the growth of the new plant.”

“Right! Right all the way!”

“And you, Mr. Monroe, your eighteenth--another tough one! Of the
so-called Presidential Series of postage stamps in use in the United
States in the third quarter of the Twentieth Century what was the color
of the three-cent stamp? And whose portrait was on it?”

Monroe licked his lips. Absentmindedly he pushed his glasses up. The
great hall was breathlessly quiet. Monroe was getting visibly tired!

“The three-cent stamp was--eh--deep violet, and--the portrait was
of--of--George Washington!”

Bob May sucked in his breath. “No!” he exploded, “No! It was Thomas
Jefferson! _You are wrong!!!_”

The audience gasped.

Wrong!

Monroe stood ashen-faced inside the Force-Field. Little beads of sweat
were forming on his forehead and a tiny artery in his temple beat--and
beat--and beat....

He did not utter a sound.

“I’m sorry,” said Bob May in sepulchral tones. “Genuinely, deeply
sorry!”

The communicator in front of Monroe quickly sank down through the
floor. The shimmering shell around the man seemed for a moment to
intensify. Then with lightning speed it collapsed upon itself and
disappeared in a blinding implosion--and with it Charles Monroe!

Bob May whirled on the spellbound audience. In ecstatic frenzy he
shrieked: “I give you _James Burton_--the Winner and New President of
the United States!”

The great audience went crazy!




Transcriber’s Note:


  This etext was produced from Fantastic Universe, July 1956 (Vol. 5,
No. 6). Extensive research did not uncover any evidence that the U.S.
copyright on this publication was renewed.

  Obvious errors in punctuation have been silently corrected in this
version, while spelling and hyphenation have been kept as is.


*** END OF THE PROJECT GUTENBERG EBOOK THE WINNER AND NEW... ***


    

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™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.


START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™
electronic works

1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the person
or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg™ electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg™ License when
you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.

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™ License must appear
prominently whenever any copy of a Project Gutenberg™ work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:

    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™ electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works
posted with the permission of the copyright holder found at the
beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg™ electronic works
provided that:

    • You pay a royalty fee of 20% of the gross profits you derive from
        the use of Project Gutenberg™ works calculated using the method
        you already use to calculate your applicable taxes. The fee is owed
        to the owner of the Project Gutenberg™ trademark, but he has
        agreed to donate royalties under this paragraph to the Project
        Gutenberg Literary Archive Foundation. Royalty payments must be paid
        within 60 days following each date on which you prepare (or are
        legally required to prepare) your periodic tax returns. Royalty
        payments should be clearly marked as such and sent to the Project
        Gutenberg Literary Archive Foundation at the address specified in
        Section 4, “Information about donations to the Project Gutenberg
        Literary Archive Foundation.”
    
    • You provide a full refund of any money paid by a user who notifies
        you in writing (or by e-mail) within 30 days of receipt that s/he
        does not agree to the terms of the full Project Gutenberg™
        License. You must require such a user to return or destroy all
        copies of the works possessed in a physical medium and discontinue
        all use of and all access to other copies of Project Gutenberg™
        works.
    
    • 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™ works.
    

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

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™ collection. Despite these efforts, Project Gutenberg™
electronic works, and the medium on which they may be stored, may
contain “Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right
of Replacement or Refund” described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

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™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

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™ 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™ electronic works

Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.

Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.