The Project Gutenberg eBook of Phoenix 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: Phoenix Author: Marion Zimmer Bradley Ted White Illustrator: Virgil Finlay Release date: December 13, 2023 [eBook #72397] Language: English Original publication: New York, NY: Ziff-Davis Publishing Company, 1962 Credits: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK PHOENIX *** PHOENIX By TED WHITE and MARION ZIMMER BRADLEY Illustrated by FINLAY _From nowhere had come the flames ... giving him life and death together. Now he summoned them again, not knowing the depths--or heights--of his power._ [Transcriber's Note: This etext was produced from Amazing Stories February 1963. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] [Illustration: "_... he relaxed and gave himself up to the heady luxury of the roaring fire which clothed his body. He basked in flames._"] He lived. He was aware. He was everything in his world. He was.... Flames wrapped themselves around his body, pouring sinuously around him. For a few seconds, as he stood in the center of the floor, he writhed; pure reflex; then he relaxed and gave himself up to the heady luxury of the roaring fire which clothed his body. He basked in flames. His mind was afire, too. _It feels like ... like satin ice! No, it's different. It's_ ... it was something new; his senses were still adjusting themselves to the new reality, and his mind contained no images with which to compare it. He didn't see or hear Fran open the door. "_MAX!_" He shook his flaming body and a few brief cinders fell away in sparks. Then, suddenly, he had snuffed out the aura of flames; he was standing nude on a smoking carpet, grinning tentatively at the girl. He swallowed and said "Hell of a time for you to show up, Fran." She seemed to stare at him without seeing him, her face taut, without expression. He blinked, slowly coming down or up to reality again. Good God, yes, she thought he'd been burning up. The odor of the carpet--it smelled like scorching hair. "I forgot about the carpet." He watched her glance down at it. Acrid smoke still curled away from two singed-bare patches where he'd been standing. Slowly, Fran raised her eyes back to his. She said "Max--!" She took one faltering step toward him; then she crumpled and swayed forward. He caught her in his arms as she fell, straining her close. The physical contact of their bodies brought him back to the level of reality again, to a complete realization of Fran's plight. He tried to make his grip as firm, as reassuring as he could--to bring her back to a world in which men were not, one minute, cloaked in streaming flame, and the next minute alive and human and-- "Max!" She straightened, "You don't have any _clothes_ on!" "I know. I lose more pajamas that way," he said, lightly, keeping his voice casual. "Sit down, Fran, and I'll put on a pair of pants, at least." * * * * * Her face was chalk-white; the color had drained from her mouth, leaving the lipstick like paint on a corpse. She was rigid with shock. She hardly seemed to hear him, and let him lead her, like a child, to the sofa. _Oh, God, why did she have to come in just now?_ "Lie down here for a minute, Fran. Here, put your feet up on the arm. Fran, it's all right, I'm all right; take it easy, now. I'll be right back." He retreated into the bedroom, quietly closed the door behind him, and leaned against it for a moment. His whole body slumped. The room was quiet, just a third-floor bedroom in an old house, now a converted rooming-house for students, half filled with sunlight. Max heard his own breathing loud in the silence, looked down at his naked body, then at his pants, draped over the bed. He stared at them and closed his eyes. His body grew rigid. Slowly, the pants began to stir as if with a breeze; but all else was still. Sunlight cut across the stationary dust-motes suspended in mid-air, and the warm summer noon seemed to hold its breath. The pants legs flapped. Then, suddenly, the room was filled with a timeless density. The silence of the moment before thickened into a tangible, measurable dimension, possessing a reality of its own. He could taste the silence. He rose three feet into the air, his head clearing the ceiling by inches. As he did so, the tension dissolved from his muscles; he lay loose-flung on the air and watched articles of clothing, first his briefs, then pants, sweatshirt, socks and finally shoes, moving to him and draping themselves over, around, up and onto his body, flowing onto him as if themselves fluid. The door opened before he reached it. He took a deep breath, set his feet on the floor, and walked into the other room. Fran started upright as he came in, and flinched away. "Fran, are you afraid of me?" She nodded, moving her mouth mutely. _Easy, for God's sake, easy, the girl's on the ragged edge of hysterics. Take the light touch._ "Afraid of me? Now that I'm fully clothed again and didn't even attempt felonious rape?" "Don't laugh," she said, finding her voice. "I know what you're trying to do. But--don't. And don't tell me that I didn't see--what I saw." Her eyes moved quickly, a little rabbit movement, to the charred carpet, and away again. "Fran." He seated himself beside her and took her face in his hands. "I'm not denying anything. What you saw--it happened, yes--but it wasn't--" he ran out of words. "I'm not crazy! And it wasn't an illusion!" "Okay, then! I'm a warlock! I weave dark spells! I've sold my soul to the devil! Do you like that any better?" He flung the words at her, bitterly. "_Are_ you, Max?" she asked softly, when he had run down. "I don't know. I don't--Fran!" He fell against her, and felt her arms reach out for him, hold him as he collapsed at her side. * * * * * The touch did what words had failed to do; he felt the rigid, frozen fright flow out of her as she held him; hard, clasping his spent body in her arms. With a sigh, she drew his head against the softness of her breast and let him lie there. This was the best way. It had come to him without words; perhaps there were no words. But what had he done to Fran, to this shy girl who held him now so tightly? He sensed, through the tension of her terror and its release, that she loved him--did he love her? When he had asked himself that, he could not answer--yet now, in his response to her, he sensed his own answer. Words, more words--what did they mean? Reasoning was a barrier, not a path. He had always felt most apart from her when he had tried to think out their relationship into words. Better to let the words go, better to react. They lay together unmoving on the sofa for a moment which was, for them, timeless--perhaps fifteen minutes, perhaps two or three hours. They exchanged no words, no gestures, not even a kiss. They simply _were_, sharing a moment of that meshed, tangible silence in which there was no Max, no Fran; instead a gestalt, a separate emotional entity. "Tell me about it," she said finally. It was like surfacing after a deep dive. He blinked. "I don't know what happened." "How did it begin?" He turned slightly, snuggling closer to her, his cheek buried against her neck, his shoulder tucked under her arm, her arms warm around his body. He paused, then reached out for words and found that the words were there. "If you want to be rational about it--that is, if we _can_ be rational about it--I guess it's what you'd call a wild talent." "_Wild_ is right," she said with a shaky laugh. "Psi power, I guess you'd call it--I can make things move, or--things happen. * * * * * "I had a dream last night. It was a very strange kind of dream--you know how sometimes you have dreams about flying? Like, you're running along on the ground, and sometimes you can jump, and pull your feet into the air, and then you paddle yourself along with your hands--? I dreamed I'd done this and I was floating and weightless, pulling myself around with handholds like an astronaut in a spaceship, only the handholds were the branches of a tree. I was floating, and pulling myself into the tree. "Things began feeling strange. Like they were happening in double--like the dream was fading out into sleepwalking. And then I woke up. "Fran, _I was holding on to the curtains of the window next to my bed, and I was floating about even with the top of the open window!_" He felt her arms tighten around him, but she neither moved nor interrupted him. Blessing her, he went on; "It scared me silly, but my first thought was; _Migod, I nearly flew out the window_--just as matter-of-fact about it as if I'd been sleepwalking and woke up and said, _Oh, I almost walked down those stairs_. And then I guess I woke up the rest of the way and really realized what was happening, and the next thing I knew, I was lying cross-ways on the bed, with all the breath knocked out of me." His body had tensed again with the growing excitement in his voice; sensing it, he shivered and moved closer into the warmth of her arms. "Fran, don't let me do anything _now_!" Slowly, under the reassurance of her touch, he felt the spasm dissolve, flow into words again. "When I woke up, I thought it had all been a dream--I mean, I wanted to believe I'd dreamed it, but I knew better. I wandered out here into the living room, and just kind of went through the motions of breakfast, without noticing what I was doing. After a while I--well, located myself sitting at the table, staring at my coffee and realizing it had gone cold. I wasn't thinking, Fran, I wasn't thinking about anything. I was just staring at that coffee and wishing it was good and hot again, and--and then it started _steaming_. "Fran, I didn't touch it, I just looked at it. I looked at it, and suddenly I wasn't just looking at a cup-of-coffee any more. I began to see it--really _see_ it. I began to see the relationships of every component in the cup and the coffee, the chemical and molecular--no, that's not what I mean, either--I could see, not really with my eyes, the entire series of relationships between all the overlapping fields of energy--no--" he broke off again, helplessly. "I can't make sense of it for you. I don't have the words, maybe there aren't any--I could _see_ it, you understand; I didn't try to explain it, even to myself. I can't, now. It's just--everything's _motion_, and I could reach out and--and speed it up, or slow it down, and I'd heated it up--" he shook his head a little and was silent, clinging to her. * * * * * Her voice was levelled when she spoke, a flat surface spread thin over panic; toneless. "I'm not a--a nuclear physicist, but it sounds as if you were trying to put the theory of atoms and force-fields into one word. Like--matter not being solid but just little bits of loose energy whirling around and building up into atoms and the atoms into molecules." "That--I guess so. As if I'd learned to--oh, to see into them. But how? _Why?_" "It takes in a lot of territory," she said, still the flat stretched toneless voice. "Just to wake up and find out you had it, whatever it was." He hardly heard. He drew himself upright, his hands clasped, tensing, searching for words. "Like--like ice and water and steam are all the same thing, only we see them differently. We just see different aspects of the same thing, and it's all the same, all this--_motion_. And I could control it! I could control _everything_!" "Max--" "Yes, I know. It's frightening. I'm still afraid, and I think I've been afraid ever since I woke up from that dream. I'm afraid to really try anything--oh, thank God you came, Fran! Thank God! I think I'd have cracked up if you hadn't!" But the moment of complete and intense rapport was gone; Fran had drawn away from him again, and he felt cold and afraid. He had said too much; she was afraid of him again, and her fear, like her love, communicated itself to him through the impalpable fibres in his very skin. He soaked up her fear and babbled it forth again. "I've been afraid to really try anything, because that's playing God. I've been doing parlor tricks, Fran, because I haven't really wanted to face the fact that I could do so much more than that! "Think about it! I turned the air around myself to flames--and burned off my pajamas before I thought to do more than protect my body--because that was sort of wild and weird and ego-inflating. I've wished my clothes on, and levitated, and moved things around--but these are _little_ things! Petty things. But Fran, I could have done so much more--I could wipe out war--there are a thousand ways I could do it. I could feed the starving and house the homeless--Hell, that's minuscule, I could change this whole damn planet, I could change _myself_, make my body so I could go anywhere, anywhere in the whole physical universe--Fran, _I could be God!_" His whole body shook. "I could be God, and I'm playing with burning carpets! Fran--oh, Fran, it's too much for me! I'm not God, I don't want it, I'm too small for it--I wish it was only a dream and now I could really wake up and find it never happened--oh, Fran, Fran, tell me what I am, tell me what to do!" Aware only of pain and terror, he felt his face wet and did not even know he was sobbing. "You're Max, _Max_," Fran wept, "You're Max, and I love you--" * * * * * Again the touch calmed him. He clutched at her desperately, clinging to reality, to the wholeness and rightness of her body in his arms, in a sort of senseless terror lest that, too, should dissolve suddenly into a flux of intermingling atoms and force-fields. He was aware only of Fran, close and warm against him, their mingling breath, his own rising hunger and need. He wanted to melt into her, lose himself in her flesh and her reality. The clothes she was wearing separated them, were a senseless intrusion into his longing for contact, for one-ness. He moved. They were gone, her body warm and naked in his arms. "Fran!" But she was white and rigid in his arms, thrusting him away, gasping with terror. "What are you doing? Max, no!" It was an icy shock, a rejection like a flood of ice, thrusting him back into the wild senselessness of his sudden mad universe. He felt only the desolation of being alone. He wept, feeling the tears on his cheek. Did God cry? Crying? Clutching desperately at this frigid slip of a girl for salvation, when the whole universe awaited him? He pushed himself up, away from her; he heard her voice as if from a great distance, making words, but he was past words. Blackness closed in about them; time slowed, the eddies of air swirled to a halt, and lances of fire swirled through his mind. Then, beyond the realm of three dimensions he _saw_ her, clearly. His mind shattered into a thousand crystals, reflecting prismatically pounding emotions he could not directly face. He looked at Fran, into her, through her, beyond her. He saw; not the immobilized figure of a frightened woman, her body helpless beneath his own on the sofa. In fact, he saw not even the sofa. He saw; beyond the immediacy of the fields of motion contained in finite space as his body, he comprehended other patterns of sub-atomic flux. Below him was a geometrically ordered matrix, a precise framework simply constructed. But above it he found an area of disorder. Complexity, confusion, patterns and sub-patterns of a structure so immensely varied and subtly differentiated as to be nearly incomprehensible. The motion! Movement! _Life!_ It offended him. It was vulgar, teeming, unruly, impossible! He began to reach out to it.... "MAX!" A body had flung itself at him, kicking, scratching, screaming. He was toppled back and suddenly lying on the floor, back in the narrow confines of a single body again. His head rang and her words were slowly becoming words again. They hurt his ears, jangling with their ridiculous cadences against the sublime expanse of perception. "No, _no_! I loved you, but you--you're mad--you're not Max--" And then she had flung herself through the door and was gone, her running footsteps growing fainter on the stairs. * * * * * Slowly, Max surrendered himself to a chair, without any awareness of his human motions. The old chair enveloped him with the old overstuffed cushioned arms and gave him a musty embrace and for a moment he was part of all its enfolding past, the weariness that had come into its unrejecting depths for comfort and rest. His face was still wet with the tears he had shed before, and now they began to swell and flow again, erupting and cascading almost without volition. Fran was gone. She was gone, and she had been all he had, all that was ever really real to him. Dimly he sensed, without knowing, that it had been a double failure. Fran had refused, rejected his need--but was it Fran's fault, that he had been unable to reach her? Had he ever been able to reach any human creature? Had he ever _wanted_ to, except in his own selfish desire? He spoke of loving Fran, and yet he had shied away from that answer--until he needed her. And so his vast paranormal powers were meaningless, because the physical universe itself was without meaning. Ordered, yes. Finely structured. But with no more meaning than an alarm clock. He could be God, and yet the only safety and sanity he had felt was when Fran drew him back from the brink of the bewildering nothingness into the shelter of her breast. But for all his control of _things_, he had been unable to achieve that blending that meant power. He had only a meaningless power over things which now, in essence, were only nothingness in various rates of flow.... The sun had set and he had turned none of the lights on. The gloom of dusk settled, blanketing his body with darkness and his mind with despair. If Fran--If. A meaningless word now. If Fran had only accepted him--if he could control his own emotions as easily as the magic-show flames he had donned! But he had feared to surrender himself to any emotion, he had given too little of himself to Fran--and when the moment of his need came, she had nothing of him that could call him back safe from the borderland of bleak despair. He wasn't fit. Like a baby given a straight razor, he could not cope with his gift, and the outcome was inevitable. There was only one answer. Best do it now. * * * * * Suddenly the darkness was pierced by flames, a flickering, growing fire which enveloped and covered his body. His clothes vanished in a flare of flame, spreading to and attacking the soft upholstery of the chair. A small thing to salvage, his ego. But this was the grandiose way, the _big_ way--for the big failure. He sat for long moments, crowned in golden flames, lost in contemplation of the streams of superheated glowing ions radiated from the burning carbon. Then the chair shifted as cloth burned through, fibre straps released their hold on the metal springs of the seat. Time. Deliberately, without emotion, he released his hold on the lines of force which demarcated the limits of his body. His hair vanished instantly in a shower of sparks and simultaneously a furnace blast beat in on him. Then his skin was blistering and blackening; gone. He collapsed into his funeral pyre, flinging out limbs in reflex spasm and struggle, and he was.... He lived. He was aware. He was everything in his world and still nothing; streams of force, patterns of sub-atomic flux. He was a moment when all fear and all perception had vanished, blending into a gestalt that was more than himself.... In her uneasy sleep, Francine floated five inches above the surface of her bed. THE END *** END OF THE PROJECT GUTENBERG EBOOK PHOENIX *** 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.