The Project Gutenberg eBook of The huntress
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 huntress
Author: Richard Rein Smith
Illustrator: Mel Hunter
Release date: May 23, 2026 [eBook #78737]
Language: English
Original publication: New York: King-Size Publications, Inc., 1955
Other information and formats: www.gutenberg.org/ebooks/78737
Credits: Tom Trussel (This file was produced from images generously made available by The Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK THE HUNTRESS ***
The Huntress
by Richard R. Smith
_We have read a good many vampire tales by reading-lamp radiance, with
the wind whistling eerily in the eaves, and a steeple bell tolling from
afar. But seldom have we read such a vampire thriller as this, with its
aura of billboards, weather, hitchhiking and quite realizable future
science. This is Mr. Smith's third story for us, and with each new yarn
his stature has grown._
=She was the most beautiful girl he had ever seen, and in her eyes was
a promise of paradise. But to live in paradise a man must die.=
My headlights silhouetted her against the dark-surfaced billboard and
even at sixty miles an hour, I could see she had curves and a thumb in
the traditional position of a hitch-hiker.
I passed her, wonderingly. Then, on a sudden impulse, I stopped the car
and backed up.
She opened the door, threw a suitcase on the back seat, slid across the
front seat until she bumped against my arm and said, “Thanks.”
It was too dark to see her face, so I mumbled something and started
down the highway again.
“Where are you going?” I asked.
“No place special.” Her voice was soft, warm and joyous as if ready to
burst into laughter at any moment.
“Where are _you_ going?” she asked.
“No place special.” It was a lie, but it sounded good. Actually, I had
a very special destination: my home, wife and kids were approximately
fifty miles down the highway.
I broke open a pack of cigarettes and thrust it toward her. She
accepted the offer. She lit my cigarette, then her own.
“Are you a salesman?” It was meant to be a question but some inflection
in her voice made it sound like a statement.
“How did you know?” I asked.
“A guess. I saw your briefcase and papers on the back seat. What do you
sell?”
Her perfume thrilled me. It was different than any I’d ever smelled.
Would _exotic_ describe it? It was as if the most exciting scents
from a hundred types of flowers had been mingled in just the right
proportions.
“I sell paints,” I told her. “Not door to door, but to big businesses
and factories that need a lot of paint.”
We talked for the next two hours. Some people talk about the weather,
politics and sports. She and I talked about destiny, the ecstasies of
life, space travel and alien civilizations. We talked about how it
feels to kill something, to fear the unknown, to die, to love and to be
drunk. We even discussed jungles, work, pain and types of people.
It was the most interesting conversation of my life. It was so
interesting that I drove fifty-four miles in the wrong direction before
I realized where I was.
I stopped the car and glanced in the rear-view mirror. My house was
only a few miles from the highway. A small side-road leads directly to
the front porch. That side-road was now fifty-four miles behind the car.
“What’s the matter?” she asked in a soft voice.
“I was so busy talking to you that I drove fifty miles out of my way!”
“I’m sorry.”
I turned to stare at her. The headlights of an approaching car
illuminated her face and for the first time, I got a good look at my
companion. She was beautiful. It was the kind of beauty that makes men
abandon all caution. For a full minute I stared into her fathomless
blue eyes.
“What’s your name?” I whispered.
“Almira. It’s Arabic. It means: a princess.”
“You are a _princess_.”
She laughed. “I am.”
We continued to stare into each other’s eyes, neither of us moving or
speaking. We said a lot without saying a word ... Messages and replied.
Offers and acceptances. It was the first time in my life that I had
carried on a long conversation with my eyes.
I drove to the nearest motel.
The modern log cabins clustered at the edge of a forest, but although
the small buildings were close together the surrounding trees and
bushes gave each an appearance of isolation and serenity. Only the
brightly-lighted brick office building struck an incongruous note.
The clerk was bald, unshaven and engrossed in a pin-up girl magazine.
He looked up as we entered the office, hid the magazine, took the cigar
from his thick lips and asked, “Can I help you?”
“Got a cabin?” I inquired.
He replied with a little speech of three dozen words that said in
effect, “Yes.”
While I fumbled for my wallet, I saw him glance at Almira’s left hand
and the wedding ring that wasn’t there. He looked at me and smiled. One
of _those_ smiles. Then he looked at Almira ... really _looked_ at her
for the first time. He had difficulty taking his eyes from her.
He gave me a key and I clutched it in my palm as if it were a key to
paradise. He pronounced a number and I memorized it as if it were a
password to eternal ecstasy.
As we walked to the cabin, I was acutely conscious of every surrounding
detail, as if inner excitement had sharpened my senses abnormally. My
ears registered the crunch of our feet on gravel, the hum of tires on
the distant highway, the whispering of the wind in the trees and even
the chatter of invisible crickets. Each sound seemed distinct, almost
thunderous.
It was a small cabin.
I turned on the lights, locked the door and sat down. My knees felt
weak.
She undressed with majestic poise, and without a trace of shyness. She
was not ashamed, though I never took my eyes from her. She acted as if
it was the most natural thing in the world for her to undress before an
audience.
When she was undressed, she turned and smiled at me. The smile seemed
to say, _You may look but I’ll never let you touch me_. Her body was
unbelievably beautiful, white and voluptuously formed. My temples
started pounding.
I found myself thinking, _I don’t want you. I love my wife. I don’t
know why I came here_....
She smiled again, turned out the lights and reclined on the bed.
And then it began.
Something left my mind and with it went _desire_. All desire for all
women. The erotic ardor drained from my mind, floated away and vanished
completely. Somehow, I knew the emotion had departed forever. I would
never be attracted to a woman again as long as I lived.
Compassion vanished as well. For a brief moment, I had felt sorry for
myself but even as I experienced the emotion, I could feel it draining
from my body like water through a sieve. All compassion for the
living--and the dead.
Sadness departed next and I knew I could never feel sad about
_anything_ again. I would be incapable of sorrow. My wife and children
could die and I would not grieve.
It rained--beat against the roof and windows and splashed on the
driveway outside the cabin.
Fear drifted away from my brain. Fear of all things--even of pain and
death. Fear of the unknown. I would never again be afraid of anything.
And because of that, for the briefest instant, I felt _proud_. Then
pride itself slipped from my mental fingers, and a numbness took its
place.
One by one, my human emotions slipped away into the dark night to some
unknown, unimaginable destination. I could feel them going one by one:
little emotions, and big, overpowering ones, and some so elusive they
seemed scarcely emotions at all.
I tried to rise from the chair and discovered that my legs had become
paralyzed, useless. Hate grew within me like a raging inferno. Anger at
the unknown thing that was stealing my most precious possessions.
The rain stopped.
I wasn’t angry anymore.
_Joy_ was the last to go, and its departure became an eternity of
pain. It was like swimming through an endless sea of broken glass. I
wanted to scream, but something wouldn’t let me. Hours flew by like the
passing of seconds.
Dawn came, and I still sat in the chair, staring at the woman on the
bed.
The paralysis of my legs ended abruptly. Almira arose, dressed and
smiled at me as she started for the door. I followed her.
“Will you explain?” I begged, clutching desperately at her arm.
She turned and studied my face while a smile trembled at the corners
of her mouth. Then the smiled vanished. Her face changed visibly, and
tears glistened on her smooth cheeks. I thought: _She looks like a
woman who has shot a rabbit and is glad. Glad. And then, she goes to
the rabbit, and looks into its large, tormented eyes ... and cries._
She explained but not with words. We stood by the door and in my mind,
I saw a majestic city. Shining structures of metal thrust their towers
high above the clouds and their foundations deep into the ground. The
buildings were thronged with radiantly-garbed men and women, and,
everywhere in the city, there were massive, audibly droning machines a
hundred times more complex than an atomic generator.
I saw _farms_ filled with strange pink animals, and as I watched
in horror I saw the inhabitants of the great city devour them
with a sickening greediness. It was not the animals’ flesh which
they devoured. _With their minds, they feasted on the creatures’
multitudinous emotions, drawing them into their own coldly inhuman
minds, and digesting them with relish._
The last telepathic picture: A ship that traveled through space with a
speed incalculable. I saw it flash through dark, empty dimensions and
land on Earth. A woman left the strange ship....
“You see,” Almira whispered, “on my native planet, I _am_ a princess.
I came here to _hunt_.” She cried out ecstatically and raised her
arms. “Your planet is a jungle and your race are beasts in the jungle.
I hunt them and I trap them. And I eat their emotions as I consumed
yours.” She pressed slender fingers against her temples. “And I do it
because it gives me a rapturous satisfaction which you could not even
comprehend.”
Her arms dropped and she stared at me pleadingly through tear-filled
eyes. “Do you understand?”
I nodded. I felt exactly like a dying rabbit staring up in hopeless
torment at a victorious hunter.
She opened the door and left. The room was empty--and so was I.
I wanted to be afraid and could not.
I wanted to cry and couldn’t.
I couldn’t even be angry.
I opened the door. She was standing beside the highway, waiting.
I wanted to run and scream a warning to everyone but my legs refused to
move and my mouth wouldn’t shout. She had done something to my mind.
As long as I lived, I would _never_ be able to tell anyone about the
strange huntress from another world.
My lips were forever sealed.
She signalled a bus to stop.
I watched her as she boarded the bus, and wondered how many disguises
she would use, and had used in the past. How many men would she meet in
bars, and hotels, on roads and beaches--_everywhere?_
_How long had she been on Earth?_
The bus hurtled down the busy highway.
Transcriber’s note:
This etext was produced from Fantastic Universe, May 1955 (Vol. 3, No.
4.). Extensive research did not uncover any evidence that the U.S.
copyright on this publication was renewed.
Obvious errors have been silently corrected in this version, but minor
inconsistencies have been retained as printed.
*** END OF THE PROJECT GUTENBERG EBOOK THE HUNTRESS ***
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 41 Watchung Plaza #516,
Montclair NJ 07042, USA, +1 (862) 621-9288. 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.
