Pollony Undiverted

By Sydney J. Van Scyoc

The Project Gutenberg EBook of Pollony Undiverted, by Sydney Van Scyoc

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org/license


Title: Pollony Undiverted

Author: Sydney Van Scyoc

Release Date: January 26, 2016 [EBook #51047]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK POLLONY UNDIVERTED ***




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









                          POLLONY UNDIVERTED

                          By SYDNEY VAN SCYOC

                     Illustrated by R. D. Francis

           [Transcriber's Note: This etext was produced from
                 Galaxy Science Fiction February 1963.
         Extensive research did not uncover any evidence that
         the U.S. copyright on this publication was renewed.]




              With the whole world at her doorstep, what
                she wanted was completely out of reach!


Pollony's dream formed around a glare of light, a tang of men's lotion.
Then she was awake to Brendel poking her.

"I'm hungry."

She struggled to burrow back into sleep.

"I'm starving, kid. I can't sleep."

She bleared at the timespot. It was three a.m. "Go 'way."

"Aw, gimme an omelette." Brendel ate a lot lately. His features were
coarsening from it; his body was plumpening.

She argued and protested and whined, and he hit her. But it didn't make
her feel good any more when he hit her.

Kitchen Central was inop for the night. She punched Storage. Dried
ingredients materialized on the cookgrid, a flat metal sheet set into
the countertop.

Later, as she took the omelette up, she heard Brendel setting the opera
tapes. She scowled. But when opera shattered their live she dropped the
skillet and cried, "Oh! Do we have to listen to that trash?" Her voice
was more weary than shrill. The opera routine was getting old.

"What you calling trash?" He twitched his plump shoulders.

"It makes me sick!"

He spat profanity.

It wasn't a good fight. He knew something was wrong and he hit her too
hard. She slugged back, hurt her hand, cursed, ran and locked herself
into the sleep.

She was asleep when he came pounding. She woke and pointed the lock
open. She glared.

He said nothing. He ordered his smaller collections--his miniature
horses, his ballpoint pens and his old-time cereal box missiles--on
to his storeshelf before mounting his sleepshelf and pointing out the
light.

She could hear him not sleeping.

Finally he muttered, "Too damn much cheese but it was okay."

She said nothing. She didn't almost cry as she might have a month
before.

       *       *       *       *       *

Brendel had appeared on their grid a year before, a dark, pugnacious
young man, jittering and nervous. "Clare Webster around?"

"Mother isn't here." Her mother collected men. She met them at drinking
clubs or collector meets. She gave them her grid card and took theirs,
making them promise to come see her. If a man came, she tacked his card
on her bulletin board. If he came twice or three times, she marked his
card with colored pencil.

Brendel twitched his shoulders. "I got the evening. Wanta have dinner,
kid?"

She was seventeen and tired of collecting china roosters and peach-can
labels. She was tired of seeing the same stupid people every day.
Somewhere there was someone handsome and perfect, and she had to find
him and become perfect too. She couldn't waste all her life being
stupid like her mother.

It took her two hours to see that Brendel was the perfect person. He
was handsome, aggressive, easy to be with. He quarreled all the time
and he even had a full-time job.

She married him. She dropped her little-girl collections and
diversions. She was no longer a formless adolescent. She was very
solid, very adult.

But the solidness had gone. She had found that Brendel's aggressiveness
masked fear; his quarrelsomeness masked insecurity. Worst, he had no
imagination. He plodded.

It had begun two weeks before. Brendel had come home from work tight
and tense. He tried eating, he tried opera and quarreling, he tried
exercises. Finally he said, "I'm gonna go see Latsker Smith. Wanta
come?"

"Who the hell's Latsker Smith?" Already she was sick of the opera
routine--and a little sick of Brendel.

"Drives a car. From Boston. Fella at the plant told me he's in
centercity."

       *       *       *       *       *

Minutes later they gridded out of the suburban maze. They materialized
on a corner grid in centercity. There was no one on the dusty street.
There was no car near the gaunt brick building where Latsker Smith was
staying. They plopped on the doorstep.

Brendel fidgeted and talked. Latsker Smith was the son of a rich
industrialist. His father wouldn't support him unless he worked, and
Latsker wouldn't work. So he had to live on government non-employment
allowance. His pre-grid automobile and airplane were his only
diversions. Since he couldn't leave Boston by automobile, Boston
being walled up like any city by the streetless suburbs, he saved his
allowance until he could commercial-grid his car to another city.
There he raced and squealed and spun through the deserted streets
of centercity until he had saved enough to commercial-grid the car
elsewhere.

A throbbing split the air. A red splinter of car hurtled around the
corner and squealed to the curb. A tall, lank man unfolded, ignoring
them.

Brendel sprang to overwhelm him. He pulled him to the steps to make
introductions. But Latsker Smith peered absently at Pollony and she was
embarrassed that Brendel acted like an eager child confronting some
heroic figure from a dream.

"Latsker's pop got money." Brendel launched into his story again.

When the story fizzled she said, "Why couldn't you get a job?"

Smith held his head tilted. "Don't want a job."

"If you had a job you wouldn't have to stay one place so long."

"No use being anyplace if I have to leave my car."

She pursed her lips. Inside the car she could see seats, straps, a
wheel. It was incomprehensible that he strapped himself in and hurtled
through the streets. "It's a stupid thing to do," she said. "You'll get
killed."

"No," he said.

"If you hit something you will. I've heard those atrocity stories.
There were more people killed in automobiles from--"

"Nothing to hit," he said.

She flung out her arms. "Buildings! Poles!" His lack of response
offended her.

"No need to hit them."

"I've seen the films!" She had seen the crumpled metal, the severed
limbs, the spreading blood.

"Driver error. No drivers left. Too expensive on government allowance."

"No one stupid enough left, you mean!" But it was stupid to glare when
he wouldn't frown. "Okay, what's it feel like?" she demanded.

He lifted his shoulders and dropped them.

"It must feel some way." She peered down into the machine, trying to
imagine herself hurtling in it. "You fly an airplane too," she accused.

He nodded.

"I bet it feels just like gridding. And it takes longer."

"Gridding." He snorted, mildly. "There's no sensation at all to
gridding."

"Then how does it feel to fly?" she prodded.

Brendel moved restlessly, bored. "Let's get going."

"We just got here, stupid," she protested.

He was already pulling her to the corner grid. "I'm getting hungry."

She tried to jerk her arm free but couldn't. "How long will you be
here?" she called back, swatting Brendel's arm.

He lifted his shoulders and dropped them.

"If I come--" But Brendel had given their number. They were outside
their own door, and she hadn't felt a thing. Today she resented not
feeling a thing.

"These weird-o's, they talk too much. I'm hungry."

She resented punching his food and didn't even want to quarrel.

       *       *       *       *       *

She drowsed back into sleep, remembering. Everything was empty. She
ate, she slept, she quarreled, she gridded around seeing friends.
What else was there? She couldn't get a job; there weren't that many
jobs. And with the government allowance for not working, who needed
a job? Who needed anything? A time of plenty, her school machine had
called it. You just gridded around collecting and arguing to make it
interesting. There were so many people moving so fast that you had to
quarrel and push or you'd get stepped on.

It was all stupid. Brendel didn't help a bit. He was stupid too.

She tried to imagine Latsker Smith echoing through the empty streets in
his scarlet splinter of car. Latsker Smith couldn't be stupid.

She slept three hours before the gridbell rang.

Elka, her cousin, stood on the grid, loose-haired, big-toothed. She
swung a hatbox. "I didn't get you up?"

"No," Pollony said hopelessly.

"I'm gridding to NYC hatting and--"

"It's not even seven."

"Poll, I'm contritest but you weren't sleeping and--"

"I don't need hats."

"You haven't seen the darling I got in Paris. I gridded over with
Sella Kyle and, honestly, there was a shop that--"

She convinced Elka that she was not going hatting. Elka took her toll
in coffee and gridded after her Paris hat. Pollony barely admired it
and Elka left.

Before she could dial Brendel's breakfast her mother was on the grid,
fluffy, fleecy, thrusting a wad of bills at her.

"Just on my way to Mexico, toodle. Punch me some coffee?" Breathless
moments later she was gone.

"What took so long?" Brendel demanded when she woke him.

"Momma stopped." She hated him like this, his face creased and puffy
from sleep. She had never thought he would get fat.

He gulped his breakfast and left. Sometimes she hated him for just
being.

The gridbell rang. It was a salesman. He insinuated she didn't have
the money to buy his product. She said his merchandise stank. He left
grinning but she didn't feel better.

The bell rang. A young man muttered, "Mis-grid," and disappeared.

She had gotten to the dress when she heard the door open. She eyed the
hall reflector and saw Ferren, her mother's brother, slip into the
cook. She dressed hastily. Ferren would order breakfast and keep the
silver to turn in from his own grid for the deposit.

       *       *       *       *       *

He was plumped up to the counter, a wooly haired man, attacking a stack
of eggcakes.

"Let me have them."

He purred, taking spoon and knife from a pocket. "The government
allowance is hardly sufficient for a man of my tastes. Shielded by your
father's fortune as you are--"

"You could get a job." She punched coffee. She wished he would go away.
He was always watching, smiling, spinning together soft words.

"And add to the work shortage?" He wagged his wooly head.

"Then don't complain. There should be a syrup pitcher too."

He produced it, purring.

The gridbell rang. Two pig-faced men in black Gridco uniforms blocked
the doorway. "You got Ferren Carmichaels inside, lady."

"No." You always lied to Gridco collectors.

"We traced him here from Dallas."

"Well, he isn't here now."

"How come we heard him talking?"

"He isn't here." Gridco could not remove a grid even though the
subscriber refused to pay his quarterly bill. The grid was held by law
to be essential to human existence in the twisting, walled alleys
of suburbia. Gridco could only send collectors to follow until their
quarry fell or was pushed into their hands. And a man who had once
fallen into Gridco hands paid eagerly forever after.

"We can pull another trace."

"Do that!" She slammed the door.

She had time for a quick swallow of coffee before the bell rang.

"He didn't go no farther."

She sighed. "Well, he won't come out. I can't make him."

"He'll come sometime." They leaned back against nothing, waiting.

"You're blocking my grid."

Dutifully they stepped into the narrow corridor.

She slammed the door. "They are going to stand there until you go out."

Ferren drained his coffee cup. "I'll settle here, then."

"If you--"

He tutted. "Thank you for the lunch invitation."

"I--" She bit her tongue. She would not get mad.

He wagged his head. "I'll peruse Brendel's books. Fine collection for a
young man, books."

Gritting her teeth, she hurtled back to the dress.

       *       *       *       *       *

The collectors rang every five minutes after that. They kept ringing
until she went and told them Ferren would not come out.

It wasn't the way she had imagined it would be when she was married.
What with punching Brendel's meals, sending out his clothes, going
collecting with him and quarreling, she hardly had a minute. And the
same stupid people, Elka, Ferren, her mother and father, were always
there.

The bell rang. Her father scowled, seeing Ferren on Brendel's best
sitshelf. "Where?" he said grimly.

"Mexico," she said.

"Pottery," he said, going.

The bell rang. A heavy-jawed youth said, "Miss Webster gave me--"

"My mother has gone to Mexico." She slammed the door.

Minutes later Sella Kyle gridded in, crisp, prim, blonde. "I haven't
seen you in such a time, Poll. Coffee?"

She entertained Sella and wished she would go and knew Ferren knew she
wanted Sella to go and found it amusing.

Every five minutes the collectors rang.

She had just talked Sella out the door when Lukia Collins gridded in.
Lukia had never been Pollony's close friend in school. But now Lukia
was always near, pushing, prodding at Pollony, smiling too brightly at
Brendel.

"You two _are_ coming to lunch with me."

"I've already asked Ferren to lunch."

"Silly, he can punch his own."

"Oh, no," Pollony said.

"I take the silver." Ferren smiled comfortably.

Lukia flipped her hand at him. "Atrocious man. Now, Pollony--"

It ended with Lukia inviting herself to come back to lunch. She had
hardly vacated the grid when Elka appeared.

She unwrapped her purchases, smirking at Ferren. "You'd be surprised
the number of hats a girl needs." She stayed half an hour.

Another young man came for her mother. Two salesman, a traveling
circular and a friend came. Then Brendel was on the grid.

"Who these lugs for?"

"Uncle Ferren," she said shortly.

He lifted a lip at them, then bounced inside. "Forget your bill, Ferry?
Hey, kid, punch drinks."

"I refused to honor it," Ferren said.

Brendel was already fishing in his pocket. "Drinks, kid."

She went to punch. She hated his trying to give money to everyone who
came along.

"No, no, it is a matter of principle," Ferren insisted. But the money
changed hands. "And there were certain other obligations."

"How much you need?" Brendel fished into his pocket again, grinning.

       *       *       *       *       *

The bell rang. It was Lukia. "All these ravenous people waiting on me?"
She had changed into a fire-red daysuit. "Dobble, you should have fed
the beasts." She snapped her fingers. "Up, beasts. I'll help you punch,
dob."

Glowering, Pollony moved toward the cook. Brendel followed, chattering
and arguing with Lukia.

Pollony was beginning to think again of a swiftly accelerating car, of
her body encased beside that of Latsker Smith and hurtled through dusty
streets.

Brendel said, "How many for opera?"

She whirled and glared.

"Pollony's a bug on opera. Tell them how you like opera, kid."

She glared. The last time Lukia and Ferren had been here he had done
this, and the time before. Didn't he have any imagination?

"Tell them, kid."

Fool! Didn't he know they were laughing at him?

She wanted to tear loose from her whole life. It was trivial. It was
everyday. It was gossip and collections and stupid people. She had
to tear loose or she would go on and on, all her life, being nothing
but--herself.

She was too good for that.

She was too good for Brendel. He had tricked her and turned into a
fattening fool. It was stupid to stay with him.

"Aw, come on, kid."

She drew herself up very straight and imagined she must look imposing.
"I'll ask you all to leave," she said calmly.

Gone were the smiles.

"I'm closing my grid to public access. I'll ask you to leave
immediately." The words came out stiffly and precisely. She imagined
she must already be more than just herself.

"What the hell!"

"Brendel, you may come back when I am gone. I shall not return." She
smiled, remotely. "I'm tired of punching your food and going collecting
and quarreling and being hit around."

"I never hit you hard!" he said indignantly.

Lukia stared at him. "Dobble!"

"Well, she made me do it. What'm I supposed to do?"

"Dobble, you're perfectly justified!" But Lukia's eyes remained on
Brendel, bright and greedy.

Pollony glared. She would not stay and fight Lukia for Brendel.

       *       *       *       *       *

She flung the door open. The two collectors snapped alert. "I want to
be alone," she intoned.

Brendel eyed her balefully. But he had already noticed Lukia's
interest. "Where we gonna go?"

"We can go to my live," Lukia said. "I think Dobble deserves her little
whim."

Brendel could not believe she was not going to fight. "You, kid! You're
acting like a kid."

Ferren took Brendel's arm. "Don't stoop to conventional pettiness,
Brendel."

Brendel flushed. "I'm coming back. You're not rooking me out of my
collections." He turned abruptly and stepped on the grid. Giving a
three-passenger order, he disappeared. Lukia followed. Ferren stepped
on, tossed bills to the collectors, and disappeared.

Pollony closed the door. She leaned against it, breathing the silence.

Then she hurried through the live, setting it in order. She
straightened the books Ferren had been examining and found two missing.

Even as Lukia was punching dinner and saying all the things designed
to make Brendel want Pollony back only briefly, as a point of pride,
Pollony was whisking into a brisk trousersuit and wondering how much
had piled up in the account where she kept her parents' gifts.

Even as Brendel was feeling Lukia's face with his eyes, letting her
excitement speak to his own, Pollony was at the bank having her balance
marked into her deposit clip.

Even as Ferren was smiling and wondering how much the two books would
bring, Pollony was rapping at the door of the apartment house in
centercity and being told that, yes, Mr. Smith still lived there.

Presently Latsker Smith roared around the corner and braked his car. He
unfolded from the cockpit. He nodded.

"Have you got money to go to Boston yet?" She held herself very
straight.

He shook his head.

"I have money," she said.

The pale eyes clung to her.

"My parents give me an allowance, and I could get jobs wherever we
were. I just want to ride with you. I wouldn't even talk unless you
wanted me to." She had to be with him. She had to sit and stand beside
him, as relaxed and withdrawn as he was. She had to freeze people with
her words and with her unrespondingness. She had to make an end of
stupidness.

He took a deposit clip from a pocket. He pointed to a figure. "Match
that?"

She withdrew her own clip and showed him a figure that exceeded his.

"How much allowance?"

She told him.

He nodded to the car. "Wait there. Take me five minutes to pack."

       *       *       *       *       *

Dreadingly, joyously, she folded into the car. She watched as he lanked
up the steps. She settled back, holding her shoulders rigid and her
head straight. She would sit and stand by him. She would chill people
with her reserve. She would be very solid and very adult.

But minutes later she looked at her wrist and saw that he had been more
than five minutes. She wished he wouldn't take so long.

When he came down the steps two at a time, she tried not to remember
that she hated people who came down steps two at a time. She didn't
like the way his hair flopped against his forehead either. And she
almost got out of the car when she saw his trousersuit was much too
short. It made him look off-balance.

He got into the car. "Don't touch this." He pointed to the starter
button. He scowled. "Or this or this or this." He pointed to the
pedals, to the gearshift lever. He reached out and heaved his suitcase
into her lap. He said brusquely, "Don't let it bump the door panel." A
corner dug into her stomach.

And then he turned his head and ignored her. Completely. And she forgot
the steps, the hair and the trousersuit and knew she would not get out
of the car so long as he was in it.





End of the Project Gutenberg EBook of Pollony Undiverted, by Sydney Van Scyoc

*** END OF THIS PROJECT GUTENBERG EBOOK POLLONY UNDIVERTED ***

***** This file should be named 51047.txt or 51047.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/5/1/0/4/51047/

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


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

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


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

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

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

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

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

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org/license

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

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

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

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

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

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

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

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

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

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

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

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

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

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


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected].  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [email protected]


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

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


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


Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.org

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