The Project Gutenberg EBook of All Day Wednesday, by Richard Olin
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: All Day Wednesday
Author: Richard Olin
Illustrator: George Schelling
Release Date: December 14, 2009 [EBook #30680]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK ALL DAY WEDNESDAY ***
Produced by Sankar Viswanathan, Greg Weeks, and the Online
Distributed Proofreading Team at http://www.pgdp.net
Transcriber's Note:
This etext was produced from Analog Science Fact & Fiction March 1963.
Extensive research did not uncover any evidence that the U.S.
copyright on this publication was renewed.
ALL DAY WEDNESDAY
Practically everybody would
agree that this is Utopia....
by RICHARD OLIN
ILLUSTRATED BY GEORGE SCHELLING
* * * * *
Ernie turned the dial on his television. The station he had selected
brightened and the face of the set turned from dark to blue. Ernie
sipped his can of beer. He was alone in the room, and it was night.
The picture steadied and Jory looked out of the set at him. Jory's
face was tired. He looked bad.
"Hello, Ernie," Jory said.
Ernie turned the dial to the next station.
"Hello, Ernie," the face of Jory said.
At the next spot on the dial: "Hello, Ernie." The next: "Hello,
Ernie."
There were five stations that Ernie's set was able to receive. When
the fifth station said "Hello, Ernie," and Jory's tired face looked
out at him, Ernie shrugged, took another sip from his can of beer and
sat down to watch the set.
That happened Wednesday night. Wednesday morning began like this:
Ernie woke feeling bored. It seemed he was always bored these days. An
empty can of beer and a crumpled pack of cigarettes rested on top of
the dead television. All he did nights was watch TV.
Ernie sighed and thanked God that today was Wednesday. Tonight, when
he came home from work, he would be over the hump ... only two days
left and then the week end. Ernie didn't know for sure what he would
_do_ on his week end--go bowling, maybe--but whatever he did it was
sure to be better than staying home every night.
Oh, he supposed he _could_ go out, just once in a while, during the
work week. Some of the guys at the plant did. But then, the guys that
did go out week nights weren't as sharp at their jobs as Ernie was.
Sometimes they showed up late and pulled other stuff like that. You
couldn't do things like that too often, Ernie thought virtuously. Not
if it was a good job, a job that you wanted to keep. You had to be
sharp.
Ernie smiled. _He_ was sharp. A growing feeling of virtue began to
replace his boredom.
Ernie glanced at his watch and went sprawling out of his bed. He was
late. He didn't even have time for breakfast.
His last thought, as he slammed out of his apartment, was an angry
regret that he had not had time to pack a lunch. He would have to eat
in the plant cafeteria again. Cafeteria lunches cost money. Money
concerned Ernie. It always did. But right now he was going to need
money for the week end; payday was another week away.
* * * * *
Ernie punched in twelve minutes late.
His foreman was waiting beside the time clock. He was a big man, and
what was left of his red hair matched in color the skin of his neck.
And the color of his face, when he grew angry.
His name was Rogers. He smiled now as Ernie nervously pushed his time
card into the clock. His voice was warm and jovial as he spoke.
"Well ... _good morning_, Mr. Stump. And did we have a nice, late,
cozy little sleep-in this morning?"
Ernie smiled uncertainly. "I'm sorry, Rogers. I know I'm late, but the
time just sort of got away from me--"
Rogers laughed lightly. "Think nothing _of_ it, Mr. Stump. These
things happen, after all."
"Uh, yeah. Well, like I said, I'm sorry and--"
Rogers went on, unheeding. "Of course, complications can develop when
your number three wrist-pin man decides that he just isn't feeling
sharp this morning and he needs a little extra sleep to put him right.
If you're the foreman for Sub-Assembly Line 3-A, for example, Mr.
Stump, one wonders if the rush order that must be filled by this
morning is going to be finished any time before next Christmas. One
wonders where the wrist-pin man is, Mr. Stump. Does he intend to come
in at all, or will he just snooze his little head off all day? One
wonders what to say to the plant manager, Mr. Stump. How do you tell
him that twenty men are standing idle on Sub-Assembly Line 3-A
because, through a laughable oversight, there is no one to put in a
wrist-pin? How do you explain it so he will _understand_, Mr. Stump?"
Rogers stopped and caught his breath. His face began growing red. He
said slowly, "You _don't_, Mr. Stump. You don't explain it so he will
understand. I just tried!"
Ernie swallowed. Hurriedly, he said, "Look I'm sorry. I'll get right
in there--"
Rogers smiled. "That would be nice, Mr. Stump. I imagine there are
quite a few Sub-Assembly 3-A's stacked up in there by now. You just
trot in there and get them cleaned up."
Ernie nodded doubtfully. "You ain't mad?"
Rogers' smile grew broader. "Mad, Mr. Stump? Why, being chewed out by
the manager is a trifle. It's something a foreman must expect. It
happens to some of them every day--for a while. And when it does, it
doesn't matter because in just a little while they are no longer
foremen. Sometimes, they aren't even workmen, any more. And then they
have nothing at all to worry about, so don't let it concern you, Mr.
Stump. Do you take the streetcar to work?"
"Huh? Uh, yeah, I do."
"I thought so." Rogers nodded his head benignly. "Well, just as a
suggestion, the next time you see you're going to be late it might be
better if you saved your car-fare and used it to buy a newspaper."
Ernie smiled uncertainly. "O.K. Uh, why?"
"Because," Rogers said slowly, no longer smiling, "the next time you
leave me in a crack like that, you're going to be reading the 'Help
Wanted' section! _Now get in there and get to work!_"
Ernie did.
He worked the rest of the morning in a sullen mood. For one thing,
with the extra time that Rogers had taken up, Sub-Assembly Line 3-A
was a mess. Incomplete sub-assemblies were stacked on the floor all
around Ernie's spot on the line. He would have to pin them and slip
them into the production line as best he could.
Next to him on the line, Broncewicz said: "Ernie, we'll never get this
job out. Where were you?"
And Ernie told him about the beef with Rogers. He worked as he talked,
but the more he talked the angrier he got. Rogers had been unfair. He
asked Broncewicz, "How can anybody do a good job with that guy all the
time riding 'em?"
Broncewicz nodded. "You should take it to the union."
Ernie snorted. "That's a hot one. Rogers used to be our shop steward."
"Yeah, I forgot." Broncewicz scratched at a hairy ear. "Anyway, you
should tell him off."
"Yeah, I should tell...." Ernie laid aside a wrench to phrase exactly
what he wished to say to Rogers, and the next sub-assembly slipped
past. Both he and Broncewicz grabbed it hastily.
Unfortunately, Rogers happened to be watching. He walked over.
Broncewicz became intently interested in his work. Ernie sighed
resignedly.
Rogers seemed surprisingly resigned, himself. All he said was, "I
thought you got enough sleep this morning, Stump. Wake up, get on the
stick." He walked off.
Broncewicz raised his head. "Hey, I thought you were going to tell
him?"
"Aw, shut up."
Ernie did not like his foreman, but neither did he like the prospect
of losing his job. He couldn't afford to be out of work.
The noon whistle blew as he was finishing the last of the extra
assemblies. Ernie tossed his tools down and left the line.
* * * * *
The sight of the food in the cafeteria reminded him all over again
that he was spending too much money. His stomach had felt queasy. It
now turned sour. Without looking at them, Ernie selected a plate of
frankfurters and spaghetti, picked up a carton of milk for the sake of
his stomach, and sat down at the nearest table.
Jory sat down beside him. "Joe's waving at you," he said, nodding at
the cashier at the end of the counter. "You forgot to pay."
"What?" Ernie stomped over to the counter, threw down the money and
returned to his seat. To Jory he said: "I feel bad today."
"Uh-huh," Jory said disinterestedly. He turned a page of the book he
had propped next to his plate.
"Don't be a wise guy," Ernie grunted. He turned his attention to his
plate. Several mouthfuls of spaghetti convinced him that he was hungry
after all. He swallowed and opened his carton of milk. He looked up at
the book Jory was holding. Jory was a funny guy, always reading.
"What's the book today?" he asked.
Jory held the cover so he could see the title. "Celine's 'Journey to
the End of Night.' It's French."
Ernie's interest quickened. "French, huh? Has it got any good stuff in
it? You know, like Miller has?" He laughed.
"No."
"Well, what's it about?"
"About a guy who thinks he might commit suicide."
"Oh." Ernie thought about it for a minute. "Is that _all_ it's about?
Just some guy wonderin' if he should bump himself off?"
"Yes." Jory turned a page.
"Oh." Ernie thought about it again. "And he made a whole _book_ out of
it? Just that ... no sex or nothing?"
"No. No sex or nothing."
Ernie laughed. "Well, it sounds pretty stale to me."
Jory sighed and gave up reading. He put the book down. "No, it isn't
stale. The book does depress me, though." He pushed it to one side.
His eyes traveled around the cafeteria; he thought for a moment then
said: "Do you ever get the feeling, Ernie, that your life has gotten
stuck? That you are just going round and round, caught in one single
groove--that you just repeat the same scene, day after day?"
Ernie shook his head. "Nah. I never feel like that."
"I do. I get to feeling it bad, sometimes. Why do you suppose that is,
Ernie?"
[Illustration]
Ernie considered the question for a moment. "Well," he said helpfully,
"it might mean you're cracking up."
Jory laughed. "Thanks. But when I need an analyst I'll go out and hire
one. No, I think I feel that way because life has somehow become a lot
more futile than it need be."
Ernie shrugged and let it go. He wiped the last trace of spaghetti
sauce from his plate. Jory got funny moods--probably because he read
so much, Ernie suspected--but he was a good man. All the guys in the
plant figured Jory for a regular guy. He liked to read some pretty
funny books, but so what? It was his eyesight, wasn't it?
Ernie remembered something else. "Hey," he said to Jory as he lit a
cigarette, "Harrigan over in the tool room told me that you write
stories. That right?"
"Yeah. But I don't have as much time for it as I once did."
"You ought to stay home nights like I do. Then you'd have time." Ernie
paused and added piously, "It makes you sharper on the job, too."
Jory started to laugh but caught it in time. He worked on the line
next to Ernie, and had witnessed the foul-up this morning. He said,
"What do you do until bedtime? Watch TV?"
"Every night. Boxing is good on Fridays. Monday night ain't so hot.
Wednesday, tonight, will be good. Lots of Westerns.
"You ought to try it. Come to think of it you look sort of tired. You
shouldn't go out drinking week nights."
Jory shrugged. "Maybe I will try it. What are your favorite programs?"
Ernie told him.
"Say," Ernie asked, "do you make any money writing stories?"
"Once in awhile. If I sell the story I'm working on now, I think I'll
lay off for a couple of months and get a cabin down in Mexico. The
fishing will be good at Vera Cruz--" He stopped and frowned. "No. I
guess I won't. I can't."
"Why can't you?"
"Something I forgot. Never mind."
"No," Ernie persisted, "you were saying--"
"Forget it."
"Oh, I get it. You're afraid to lay off because they might not hire
you back?"
"Nuts. There's always some place that is hiring. You'd be surprised at
some of the jobs I've had, Ernie." He grinned. "As far as that goes, I
might get laid off here before I want to go."
"What makes you say that?"
"Look around you. How many men are working today?"
* * * * *
Now that his attention was called to it, Ernie glanced around the
cafeteria. Normally, it was packed during the lunch hour. Today, it
was less than three-quarters full.
"So? Some of the guys are out sick, that's all."
"There won't be much work this afternoon. We got most of it out this
morning."
"It's some new bug. Like that flu thing last winter." But Ernie's
voice, as he said it, was defensive. In Ernie's book, a layoff was a
bad thing.
Inside, Ernie's mind began to calculate the possibilities. It was a
thing Ernie's mind always did when it was confronted with the
unexpected. His mind didn't like to work, but Ernie liked the
unforeseen even less.
It was unlikely that the entire plant would be shut down. In that case
what supervisors would want him to stay on? He ran through the list of
his superiors and immediately came to Rogers.
Ernie winced. After this morning, Rogers would post him for the layoff
for sure. He could take it to the union, but--Ernie stopped and looked
suspiciously at Jory.
Did Jory know about the beef he had this morning with Rogers? Come to
think of it, Ernie didn't _know_ there was going to be a layoff. Was
Jory just needling him?
He looked around the cafeteria again. The tables on the edges of the
floor were deserted and empty. To Ernie's eyes it suddenly looked as
if the men who were eating had purposely gathered so they could be
close together. They sat with their backs hunched, turned on the empty
spaces behind them.
Even the noise, compared to the usual din of the cafeteria, seemed to
be different. It echoed and fell flat. Ernie didn't like it. He felt
funny. The overly familiar cafeteria had suddenly become strange.
A feeling began to grow in him that, somehow, the cafeteria was wrong.
"It ... looks funny," he said.
Jory became alert. "What looks funny?"
"I don't know ... the room."
"What's wrong with the room?" Jory bent over. His eyes were intent,
but his voice stayed low. He spoke with great care.
"I ... don't know. It looks funny. Empty. Older. No, wait--" And the
feeling was gone. Ernie shook his head. It was the old, crowded and
not too clean cafeteria, again.
He turned to Jory. "Well, they better not! I was out of work six
months on the last layoff." He paused and marshaled a last, telling
argument: "I can't afford it!"
Jory laughed. "Take it easy. I said there _might_ be one. Lots of
things might happen. Hell, the world itself might come to an end."
Ernie said grumpily, "I don't like 'mights'. Why can't they leave a
man alone and let him do his work? Why do they gotta--"
Jory stood up and grinned. "Come on, Ernie. What do you need money
for? I mean, other than to keep up the payments on your TV?"
Ernie rose. "Don't be such a guy," he grumbled. "We better get back.
If I come in late from lunch, I've had it."
It was a quarter of a mile across the plant yard to where they worked.
They walked in silence for the first few yards. Ernie thought his own
thoughts and listened to the sound of their feet on the gravel.
Presently, Jory said, "Ernie, you watch the fights. Do you remember
back when they had the Rico-Marsetti bout?"
Ernie still felt irritable. "Hell, yes, I remember. It was just two
weeks ago. You make it sound like it happened six months back."
"How well do you remember it?"
"Well enough. That bum Marsetti cost me ten bucks when he dived in the
sixth. He was the two-to-one favorite."
"He didn't dive."
"Yeah? You ask him?"
"No. I read the papers. He was pretty scrambled up ... in the head, I
mean ... for quite a while after they brought him back to his dressing
room."
"Maybe he was that way all along. Maybe they just then noticed it."
Jory laughed. "Don't get cynical, Ernie. It's a sign of old age. No.
Marsetti was really out of his head. He kept going through the last
round ... you know, in his mind. He did it perfect, thirty or forty
times, just up to the knockout." Then he stopped and went through the
whole round again.
"The doctors that examined him said that it happened because he ran
into something he couldn't face."
Ernie said sourly, "Yeah. Rico's left fist."
"Maybe. But it gave me an idea."
"Oh?"
"Yeah. The idea is this: Could the world get knocked out that way?
Suppose it did. Suppose everybody ran into something they couldn't
take. Would they just run in a closed circle? Would they take a single
day, like Marsetti took the sixth round, and just repeat it over and
over again?"
Ernie scowled and stopped. They were outside the plant door. "Boy," he
said, "you are a bug, ain't you? What are you trying to give me?"
"Just an idea, Ernie."
The suspicion that Jory was needling him came back. "Well, I don't
like it," Ernie said scornfully. "In fact, I think it's nuts." He
paused to think of something else to say, then shrugged and turned.
"I'll see you later. I got to get in to work."
* * * * *
And now here he was, Ernie thought, sitting in his own room with
Jory's face looking at him out of the blue screen.
_The whole day has been nuts_, Ernie told himself.
"Hello, Ernie," Jory's voice repeated tiredly. "Hello, Ernie....
Hello, Ernie--"
Ernie threw his beer can on the floor. Foam spewed out and soaked the
rug. "All right," Ernie bellowed, "All right--Hello!"
Jory stopped. He put his hand to his head and looked excited. He was
wearing earphones, Ernie saw.
"Ernie!" Jory said. "Do you see me?" He looked blindly out of the
screen.
In his rage, Ernie nearly kicked in the face of the set. "Yes, I see
you! What are you trying to pull?"
Jory turned excitedly to someone beside him, but off the screen. "I've
got him," he said quickly. "He's awake." He turned and faced Ernie.
"Look, Ernie, I can't see you but we've got a microphone in your room.
I can hear every word you say. Now sit down for a minute and let me
explain."
"You'd better," Ernie said ominously.
"Are you sitting?"
"Yeah, I'm sitting. Get on with it."
"I've been on your screen every night for the past week, Ernie. We
took over the station. And we've been broadcasting to you on all
channels for the past week."
Ernie shook his head. "You're nuts," he mumbled.
"It's true, Ernie."
"But--" A thought struck him. "Hey, are other people getting this on
their sets?"
"Everyone in the city, Ernie. But they aren't seeing it. As far as we
can tell they think they're watching their usual programs. Everyone is
in a trance, Ernie. They just go through the same motions over and
over. It was the same with the engineers here. We just pushed them
aside. They're tied up now. We're keeping them under drugs. We had to
do that. When they were loose they just tried to get back at the
controls. But that was all, they never really saw us."
Ernie shook his head again. "Wait a minute. Let me get my head
clear--O.K., now you say everybody is in some kind of trance. _Why?_"
"I tried to make you see it today. The world is stuck. It's stuck in
this God-forsaken one day! We don't know why. Some of us--just a
few--have known it all along. But even we can't remember what caused
it."
"You mean it's happening everywhere?"
"Yes. Or not happening, I guess you'd say. We're not getting reports
from overseas ... not any that are any different from the first
Wednesday. So it must be the same over there. It's the whole world,
Ernie."
"Wait a minute. Let me think." After a moment, he got up, went into
the kitchen and got another beer.
"O.K., I'm ready," he said as he came back. "Now, why did you guys
pick me? How many of you are there?"
"Just a handful ... no more than twenty. We're scattered all across
the country. We picked you because you're a test case, Ernie. One of
us is a psychologist.
"He says you're a common denominator. If we could break you out of it,
then we could get through to a whole cross section of people."
Ernie grunted and sipped his beer. "A common denominator, huh?
Thanks, pal. You mentioned drugs. I guess you can go anywhere? Just
walk past people and never be seen?"
"That's right."
Ernie laughed scornfully. "You've got a good deal. Why louse it up?
What do you stand to gain?"
Jory shook his head. "You're wrong, Ernie. For one thing, everything
is slowly running down. Miners go to the same part of the mine each
day and send out nothing but empty cars. The same thing is happening
all across the country, in farms, in factories, in hospitals--"
Ernie got up. "Keep talking," he said.
"Hospitals are hideous these days, Ernie. Don't go near a surgeon. All
he can do are the same operations he performed on the first Wednesday.
If you're the wrong height, the wrong weight, or just there at the
wrong time, he'll cut you to pieces.
"Homes burn to the ground. And nobody tries to get out of them. The
fire department is no good. It's stuck in that first Wednesday.
"We broke off broadcasting last night. We had to fight an apartment
house fire. There are only three of us here in the city. We didn't
save anyone. What could we do? We were lucky that we kept it from
spreading.
"We need help, Ernie. We need it badly--"
Absently, Ernie said, "Yeah, I see that all right." He kept pacing.
"I don't know if I can make you understand how important you are right
now, Ernie. With you helping, we can isolate the thing that triggered
you out of this. We can use it as a technique on whole groups of
people. The world will begin moving again. At last, things will begin
to change."
"Yeah--" Ernie stopped and looked at the rug beside his dresser. He
had found what he had been looking for. He picked the microphone up.
And pulled loose the wires.
From the television, Jory screamed. "Ernie, _listen to me_--"
Ernie turned off the set.
He sat on his bed and continued to think while he finished the can of
beer. When he had it all thought out he smiled. He felt very happy. He
could stop being afraid. Afraid of anything. His foreman, his job. All
of it.
He wasn't interested in walking into banks and carrying off sackfuls
of money. What was the sense to that? He couldn't spend it anyway.
Besides, he had something that was better.
All his life there had been too many bright guys with too many bright
ideas. And the bright ideas got put into practice and then things
changed. They could never leave a guy alone and just let him do his
job. They always had to throw in the unexpected.
But this time, nothing was going to change.
Ever.
He chuckled and turned out the light.
* * * * *
End of the Project Gutenberg EBook of All Day Wednesday, by Richard Olin
*** END OF THIS PROJECT GUTENBERG EBOOK ALL DAY WEDNESDAY ***
***** This file should be named 30680.txt or 30680.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/3/0/6/8/30680/
Produced by Sankar Viswanathan, Greg Weeks, 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
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected]. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
