The Project Gutenberg eBook of For the love of Annibel
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: For the love of Annibel
Author: W. C. Tuttle
Release date: March 16, 2026 [eBook #78219]
Language: English
Original publication: New York: The Ridgway Company, 1916
Other information and formats: www.gutenberg.org/ebooks/78219
Credits: Prepared by volunteers at BookCove (bookcove.net)
*** START OF THE PROJECT GUTENBERG EBOOK FOR THE LOVE OF ANNIBEL ***
FOR THE LOVE OF ANNIBEL
By W. C. Tuttle
Author of “A Bull Movement in
Yellow Horse,” “All Wool,” etc.
I knowed it! I knowed it jist as well as though it had been yelled from
th’ house-tops. Any time I hears uh noise like that I’m wise to th’ fact
that joy has departed from life.
I ain’t one uh these fellers who see bad luck in black cats and
prophesy bad weather from sun-dogs or th’ shadow of th’ ground-hog,
but, by cripes! any time I hears Magpie Simpkins massacreein’ “Sweet
Adeline” I’m plumb wise.
He stops jist outside th’ cabin door and enlightens me that “yore th’
flower-r-r-r-of my heart-t-t-t-, sweet Ade-e-e-eline.” Magpie shore has
ambition but when he comes to ability he don’ assay uh trace.
I gits my ol’ .44 and sneaks to th’ door.
“’Pears to me that th’ coyotes are gittin’ thicker every day in
Piperock,” I orates aloud.
“Yore kind applause is appreciated, Mister Harper,” sez he. “Nothin’
tickles th’ cockles of uh man’s heart like hearty appreciation of his
talents. I’m plumb grateful to yuh.”
“Oh, hello, Magpie!” sez I, sorta surprised. “I reckon yuh done scared
th’ howler away.”
Magpie bows. He rises to his six feet six, or thereabouts, and I’m
surprised at his next move. He musses up his ha’r, spits on his hands
and ambles up and down in front of th’ cabin, draggin’ first one foot
and then th’ other. He walks like uh man with th’ rheumatics and all
th’ time he’s sayin’ somethin’ like this:
“Curse yuh! Cur-r-rse yuh, Alexander Wiffletree, I’ll have me revenge.
It’s th’ papers or yore life!”
“I don’t know Alex,” sez I, “and I don’t want to know any man with uh
name like uh cross between uh de-ceased monarch and uh wagon decoration.
Where does Alex tend bar, Magpie?”
“Avaunt!” roars Magpie, and glares at me like I had jist pushed him into
uh cactus pile.
“Never saw th’ place in my life,” I states. “If you’ve jist come from
there I’d shore admire to smell what he sold yuh.”
Magpie stops millin’ and puts on his hat. He grins at me and rolls uh
smoke.
“What do yuh think of it, Ike?”
“I don’t like it,” I replies. “There’s somethin’ noble about drinkin’
hooch which produces purple snakes and li’l green devils with red hats
on but-- Magpie, if I was you I’d shore let Alex’s stuff plumb a-lone.”
“Huh!” sez Magpie. “Ike, that’s actin’.”
“Unha,” I agrees heartily. “She shore is. I’ve never seen anythin’
act like that before. I’ve beheld uh half-breed Cree full uh lemon
extract and turpentine, and I’ve seen uh half-witted Greaser lit up
with tequila and sulphuric acid cocktails; but them sights were tame
compared with what I’ve jist witnessed. I’m sorry, Magpie. Yore pore
ol’ stepfather would----”
“Ike Harper,” sez he, “yo’re locoed! I ain’t had uh drink today. I was
jist tryin’ out my e-motions. I’m goin’ to be uh actor.”
“Actors don’t have pardners, so that lets me out,” sez I, sorta
thankful like. I was afraid he was goin’ to rope me into one uh his
schemes. “I’ll hate to see yuh go, Magpie, but I feels shore you’ll
drop me uh line once in uh while. When do yuh reckon to leave?”
“I ain’t goin’ to leave.”
“Oh, I see,” sez I. “Yo’re goin’ to be uh actor but yo’re still goin’
to prospect or punch cows for uh livin’. Johnny Myers, of th’ Five Pot
outfit, was sayin’ yesterday that all he could git nowdays was bad
actors and mail-order punchers. Yuh might see him and----”
“Lissen!” sez he. “We’re goin’ to have uh show right here in Piperock.”
I starts to orate that in my opinion nobody has uh show in Piperock,
but Magpie is lookin’ me in th’ eye and I saws off on th’ humor stuff.
Magpie likes our fair city.
“It’s this way, Ike,” sez Magpie, makin’ himself comfortable against uh
lodgepole post. Magpie’s shoulder-blades jist fits uh six-inch post and
sorta lock around it. “There’s uh lady jist comes to our town yesterday,
th’ name of which is Madame Della Selva, and she proclaims that she’s
goin’ to produce uh reg’lar theater play called, ‘For th’ Love of
Annibel.’ She’s goin’ to rustle her outfit right here, and unless I’m uh
heap mistaken I’m goin’ to be th’ foreman of that Annibel outfit. She
calls it ‘home talent,’ Ike. She’s aimin’ to have it in th’ old Mint
dance hall. She reckons to build uh platform to play on, _sabe_? Tonight
she’s goin’ to have us all come down there and talk it over. She’s uh
promisin’ lookin’ filly.”
“Sounds like th’ cover of uh cigar box,” I replies. “Who is this Annibel
person?”
“She’s th’ heeroine of th’ show, Ike. Bein’ familiar with this Annibel
person, Miss Selva takes that part. Roll is what she calls it. You’ll
go with me tonight, Ike.”
He didn’t put no question mark after that last sentence and it makes me
uh heap sore. But that’s Magpie. He’s always throwin’ bricks in th’ air
and I’m th’ li’l jasper what always gits it on th’ head when she comes
down.
I ain’t no actor and I ain’t got no ambition thataway. I know such
things live and have their bein’ ’cause I’ve seen ’em in honkatonks
from Nome to th’ Mexican border and across to Butte.
Once I saw uh show in Helena. It was, unless I’m uh heap mistaken,
called “Love.” I stayed long enough to see three men get killed and
then I went out to git uh drink and took my hat and overcoat along. I
reads one time that plays have uh powerful influence on mankind. That
one shore did with me. I’ve hardly spoken to uh female person since.
I re-fused Magpie jist like I always do. Ab-solutely refused to go down
there with him. There was no reason why I should go. It didn’t interest
me none, so I said I wouldn’t go.
* * * * *
Well, when we got there, I reckon half th’ population was there. Old
Tellurium Woods was occupyin’ one of th’ front chairs and beside him
was old Judge Steele. In my opinion them two ought to be killed while
they’re happy.
Th’ old judge was wearin’ his long-tailed coat and Tellurium was
clean shaved from his upper lip to th’ back of his collar. Th’ point
of interest seemed to be uh fe-male over in th’ corner. She was bein’
close herded by Ricky Henderson, Slim Hawkins and Art Miller.
“That’s Della Selva,” states Magpie. “Come over and I’ll give yuh a
knockdown to her, Ike.”
We starts over that way but th’ fe-male beats us to it. She pushes Slim
to one side and lopes right up to me. She’s what you’d call uh light
sorrel and frisky fer her age. She shows uh right good gold prospect
when she grins, and she hooks right on to my coat.
“I’ve never met you, have I?” she asks.
I don’t have time to answer before Magpie butts in.
“Miss Selva,” sez he, “this person is Ike. He’s all right at heart but
he looks mean. His other name is Harper.”
I sees about twenty-five dollars’ worth uh gold when she smiles this
time, and she makes uh noise like uh moose bird when it discovers uh
nice fat grub.
“Mister Harper, I’m de-lighted!” sez she. “I know jist th’ part I wants
yuh to take. You see I’ve got to----”
“Miss,” sez I, “I ain’t no actress a-tall. I jist comes to this meetin’
to keep cases on Magpie Simpkins.” I taps my head and winks at her. “Oh
no,” sez I, “he ain’t dangerous. I stopped him before he eats all th’
loco weed. All he ate was th’ roots.”
“Well!” sez she, jist like that. “Well!” She looks at Cobalt Williams
and Slim and they’re swallerin’ hard and havin’ trouble with their
collars. Magpie puts his hand on my shoulder sorta easy like and I’m,
well, sorta sorry I spoke.
Jist then in comes Buck Masterson and Miss Dougherty, th’ new
schoolma’am, and Buck is leanin’ on her arm like uh cripple. Buck
wouldn’t be uh bad-lookin’ feller if it wasn’t fer his face. Fer two
years he’s been keepin’ steady company with Miss Harris, the
postmistress, and now here he’s bustin’ his cinch tryin’ to locate
some school property.
I hates uh two-faced man, and as soon as I had uh chance I got Buck
over in th’ corner and tells him so. It makes him sore and he orates
that he ain’t no such thing, and if he was, he’d loan me one of them
so I could appear in select company. Miss Harris was there, too, but
she don’t act like she cared much.
After uh lot uh general wau-wau Miss Selva gits up on th’ fiddler’s
platform and looks us over.
“Friends,” sez she, “we may as well proceed to business. I’ve decided to
give Mister Masterson th’ part of Annibel’s father. Mister Woods will do
nicely as Mose Johnson, th’ colored retainer of th’ family. Miss Harris
will----”
“Desist!” sez Tellurium, standin’ up. “Do I decipher yore oration to th’
extent that I’m to be uh nigger?”
“Yes, you’ll be th’ old colored man who saves----”
“Desist twice!” snorts Tellurium. “I draws th’ color line. I’ll be
anything else in th’ outfit, but I’ll be----”
Cobalt Williams and Slim Hawkins had done got up and walked around in
front of Tellurium when he opines.
“You’ll be th’ ol’ colored man, Tellurium,” sez Cobalt.
Tellurium looks at Cobalt and then at Slim, and switches his chew to th’
other side of his fat face.
“Yes,” sez he, “if yuh puts it thataway, Cobalt.”
“Now,” continues th’ fe-male with th’ Havana-filler name, “I’ll give
Miss Harris th’ part of th’ adventuress.”
Miss Harris is about five feet four inches high, forty-four years old,
and has uh rosy li’l nose. Her hair ain’t none too luxuriant, and she
favors one front foot uh heap. Jist bein’ alive is enough adventure fer
uh fe-male like her.
Miss Selva goes right on without no comments:
“I’ll cast Mister Williams as Jake Fillmore, th’ village cut-up. This is
uh rural drama, sprinkled with real comedy.”
When anybody sez “comedy” to me I begins to git organized. I knowed two
fellers oncet who helped lynch uh hoss thief, and one uh them said it
was comical to see that feller swing around on that rope and kick. They
both snickered out loud while they was a-tellin’ about it.
“Now,” sez this fe-male person, “I’ll cast Mrs. Smith as Sary
Suzenhammer, th’ village gossip.”
By cripes! She shore hit th’ bull’s-eye that crack! Mrs. Smith beats
any daily paper on earth for local news. Somebody snorts out loud and
Mrs. Smith ruffles up like an ol’ hen. Wick Smith gits red behind his
ears and loosens his gun. Miss Selva sees that she’s made uh noise in
church, so she gits busy talkin’ again.
“I’ll se-lect th’ rest of th’ cast later. With one or two exceptions
them are th’ main rolls, and one uh them exceptions I’m goin’ to speak
about right now. I need uh leadin’ man. He must be good lookin’ and
able to make love.”
Magpie shifts in his chair, twists his mustache and glares at Slim
Hawkins, who is doin’ th’ same, only Slim ain’t got no mustache. He
don’t realize he had it cut off th’ day before.
“I’d like to suggest,” remarks Slim, “that I’ve----”
“Haw! Haw! Haw!” roars Magpie in uh high key. “Slim is jist about
to----”
Slim jumps to his feet and appears to be listenin’ for uh moment and
then he turns to Cobalt.
“Cobalt,” sez he, “did yuh hear that? By golly! That ol’ crippled
jackass yuh sold Sourdough Watson, down to Mica, has shore come back
home! I’d know his voice among uh thousand.”
“As I was goin’ to say,” continues Slim, “I feels that in that kind
of uh part I’d be there four ways from th’ jack. I’ve done read love
stories by Bertha M. Clay and I’m jist finishin’ uh book called ‘Love
Letters to Lonesome Men.’ I feels that I can put th’ proper quavers
on my voice; and I don’t look so awful.”
Slim looks right at Magpie when he makes that last statement and then
sits down.
Magpie ain’t no Venus when it comes to shape. He looks like th’
architect who planned him had started out to make uh memorial to uh
lodgepole, lost th’ plans and let some drunken workmen finish th’
job. Yuh simply got to look up to men like Magpie.
“All I’ve got to say,” states Magpie, standin’ up and pickin’ splinters
out of th’ ceilin’, “is this: Miss Selva comes clear out here to put on
this show and I’d shore hate to see it ruined. Now, I’m fitted to that
leadin’ part like machine-oil on uh six-gun, and I shore won’t
re-linquish my chances without uh murmur.”
Miss Selva clears her beautiful throat and smiles at all of us.
“I was just thinkin’ that perhaps Mister Harper would care for the
part,” she states, soft like.
“Beggin’ yore pardon, lady,” sez Magpie, “I reckon I misunderstood yuh.
I thought yuh said ‘uh good-lookin’ man and one who could make love.’”
“Haw! Haw!” squeaks Slim. “Ike Harper, leadin’ lover!”
That made me sore. Bein’ of uh retirin’ disposition don’t argue that
uh man ain’t got no ability. I gits up on my hind legs and slides my
ol’ .44 around to th’ front.
“Ma’am,” sez I, “I shore appreciates th’ honor but I’m uh li’l out uh
practise. Punchin’ cows and shovelin’ gravel into uh sluice sorta rusts
uh feller fer lovin’. I honors myself by acceptin’ th’ job and then
relieves th’ feelin’s uh some wise jaspers by resignin’ immediate and
sudden. I thanks yuh again.”
“Wise words, Ike,” sez Magpie, as I sets down.
“Unha,” sez I, “I supposed you and Slim both had me covered from
behind.”
“Well,” sez Miss Selva, thoughtful like, “perhaps Mister Henderson will
accept th’ roll.”
Ricky started to git up but he happened to look at Magpie and Slim and
he sets down some sudden. Ricky don’t even de-cline. He wets his lips
and starts to roll uh smoke. He gits it made, throws it on th’ floor and
then puts th’ sack of tobacco in his mouth. He ain’t in no shape to take
th’ part a-tall. Jist about this time Pete Gonyer sa’nters in and sets
down alongside of his wife. Th’ minute Miss Selva sees him she grins.
“Mister Gonyer might take th’ part,” she opines.
Pete looks at her and then at his wife, and swallers his chew.
“Aw!” sez he, jist like that. “Aw!” And he slides down in his seat so
only his nose shows.
“Well,” sez Miss Selva, “I’ll give both Mister Simpkins and Mister
Hawkins uh chance. I will start rehearsal tomorrow afternoon and I
want everybody present. Tomorrow I will pass out th’ parts.”
Bein’ uh home-lovin’ sort of uh feller and not carin’ fer too much
excitement, I takes th’ stage out of Piperock th’ next mornin’.
I got uh li’l minin’ deal to talk over with some fellers over in Helena
and I’m also goin’ to take uh trip down to Warm Springs to see uh friend
uh mine. That’s where th’ asylum is located. This friend uh mine took uh
job herdin’ sheep oncet. I try to see him once uh year. He thinks he’s
uh taranteler.
It’s two weeks before I returns to Piperock. I don’t ask Art Miller,
th’ stage driver, no questions but I see that he’s plumb thoughtful
over somethin’.
* * * * *
When I goes up to our cabin I finds Magpie with th’ parts of his six-gun
scattered over th’ bunk promiscuous like and he’s polishin’ and oilin’
some particular.
“What’s th’ idea?” I asks, pointin’ at th’ gun.
“Dress rehearsal tonight,” sez he, short like.
“Are you takin’ th’ part of an outlaw?” I asks.
“No,” sez he, “but I may take th’ scalp uh one.”
“How’s th’ show comin’ on?” I asks.
Magpie slips that ol’ gun together and snaps it at uh knothole in th’
floor.
“To th’ bitter end!” he snorts.
“Well,” sez I, “it lasted longer than I figgered. Jist about what’s th’
trouble, Magpie?”
Magpie lays th’ gun down and rolls uh smoke.
“Ike,” sez he, “remember th’ time th’ Injuns had me and you corralled in
that blind canon down in Arizona? Remember how we felt when that Apache
war-whoop got up in th’ rocks above us and cut my suspenders th’ first
shot? Well, that was an old ladies’ afternoon tea-party beside this
Annibel thing.
“In th’ first place she takes Buck Masterson’s part away from him and
makes Judge Steele th’ father of Annibel. Mrs. Smith re-fused to be th’
village gossip so they switches her and Miss Harris. Ike, jist consider
an adventuress weighin’ two-seventy in her socks and squeaky with th’
asmy. Cobalt takes his part so danged serious like that he ain’t been
sober fer uh week. Somebody told him he was funny when he was drunk and
he’s aimin’ to git all th’ comedy out of his part.
“Miss Dougherty is what Miss Selva calls th’ on-gen-yew. She is supposed
to make love to Ricky Henderson and it makes Buck Masterson so danged
sore that he fired Ricky and hired another bartender.
“Ricky helped Tellurium to make up as uh coon last week. They never
thought of burnt cork so they used ink. Ricky painted Tellurium’s bald
head too and that stuff won’t even wear off. It’s waterproof, Ike, and
Tellurium has issued his ultimatum to th’ effect that as soon as th’
show is over he is goin’ to kill Ricky by slow torture.”
“How’s yore part?” I asks.
Magpie picks up th’ gun and slips th’ cylinder full uh stub-nosed
forty-fives before he answers.
“That’s settled. I jist can’t seem to understand that Miss Selva. I
plumb wore out my Sunday pants makin’ love to her on my knees. I’ve
orated every line of that part, Ike, and I’ve shore orated it right
too, but she ain’t satisfied. Anyway she’s elected Slim to that job
and handed me th’ part of Kirk Devill, th’ villain, which Art Miller
was due to play. Say, Ike, yuh ought to see that Slim Hawkins act.
He’s plumb bow-legged and every time he gits down on his knees to
orate love to her he has to cross his feet. She calls my part th’
‘heavy’. It’s shore goin’ to be uh load fer somebody, Ike, and it
ain’t goin’ to be me.”
“Ike, there’s uh race-hoss in this play--reg’lar hoss on th’ stage. Miss
Selva picked it out of Art Miller’s herd without no advice from anybody.
She opines that she knows hosses and Art Miller, after havin’ his part
taken away from him and bein’ sorta thrown into th’ discard, don’t have
th’ heart to argue with her. She picks old Squaw!”
“Well,” sez I, “mebby she ain’t got no actors with reputations but she
shore has uh hoss which has.”
Old Squaw can kick th’ soda out of uh biscuit and never bust th’ crust,
and I’ve seen her buck an aparejo loaded with drill steel plumb off and
never loosen th’ cinch. As uh cultus actor she couldn’t have picked uh
better one.
“Bein’ as half uh Piperock is in th’ play and th’ other half is sore
about it, what yuh goin’ to do fer a audience?” I asks.
“We’ll have th’ crowd, Ike. We’ve done advertised that there’ll be uh
dance after th’ show, and I’ll bet everybody in Mica and Curlew will
be there.”
“Well,” sez I, “I hope there won’t be no casualties.”
“You and me both,” agrees Magpie, standin’ up and practisin’ throwin’
his six-gun. “Yuh never can sometimes always tell. Annibel strikes me
as bein’ uh troublebreeder. Ike, I wish yuh had uh stop-watch so yuh
could time me. I’m gittin’ faster every day.”
I didn’t go over to th’ hall that night. I happened to git into uh
poker game at Buck’s place and forgot th’ rehearsal until along about
eleven-thirty Ricky Henderson sticks his head into th’ saloon and asks
Buck to sell him uh pint of alcohol. He wants it to take th’ soreness
out of uh black eye. He’s shore got uh beauty.
When I gits home Magpie’s snorin’ his head off and oratin’ in his sleep
about “gittin’ th’ papers and turnin’ th’ old folks out in th’ cold.”
In th’ mornin’ he don’t have nothin’ to say. I puts in th’ day safely
and organizes myself fer th’ evenin’ festivities.
* * * * *
Along about four o’clock th’ people start comin’ in. You know how they
come--anything from uh four-hoss load to uh lone prospector with his
burro. By eight th’ Mint Hall is plumb full.
Ol’ man Thatcher and his two boys sit down in front to dispense th’
music--two fiddles and uh banjo. Sourdough Watson and Half-Mile Smith,
from Mica, sits one on each side uh me and jist in front is Dirty Shirt
Jones, from Curlew.
Sourdough is wearin’ uh heavy frown and I asks him why for?
“Boots!” sez he. “Danged things too small. Gits ’em a purpose fer this
dance. I wears twelves and these are elevens and a half. Reckon I’ll
take ’em off.”
“Th’ same of which don’t appeal to me a-tall,” states Dirty Shirt,
turnin’ around and lookin’ at Sourdough. “I done paid two dollars fer
this seat and I argues fer my rights.”
“Bein’ from Curlew,” states Sourdough, “yore olifactory nerves ain’t in
no state to de-tect odors. Yo’re used to real smells.”
I reckon there would have been uh chore fer Th’ Hague right then, but
jist then th’ curtain went up and Sourdough slips off his boots.
There is one side of uh house on the stage and uh li’l fence and on
this fence is uh li’l yaller-haired gal. By golly, it’s Miss Selva, but
she don’t look more than fifteen. She talks to herself fer uh while but
there is so much noise I don’t _sabe_ what she says.
Then out comes Judge Steele, wearin’ uh black suit and false whiskers
and leanin’ on uh cane.
“Dawlin’,” sez he, “yore pappy is gittin’ ol’ and feeble.”
“Haw! Haw!” roars somebody. “Dawlin’, yore pappy’s whiskers are slipping
already. Better give ’em uh half-hitch before he loses ’em.”
Th’ judge sits down and plasters them whiskers back into place. Miss
Selva looks th’ crowd over with uh mean look and then squats down in
front of th’ judge.
“Daddy,” sez she, “ain’t there nothin’ I can do?”
“Gol ram th---- Keep off my bunion!” yelps th’ judge, and grabs his
whiskers jist in time.
Jist then Tellurium comes on. He’s th’ shiniest nigger I ever seen. He’s
got uh pair uh calico pants on and they’re jist about to bust in spots.
“Vell, Miss Annibel,” sez he, “see vat I prings yuh. De first magnolia
plossom of de season.”
Dirty Shirt turns around and remarks:
“I’ve knowed some niggers in my life but that’s th’ first one I ever
saw with uh German accent. It don’t stand to---- Say, Sourdough, you
got yore boots off?”
Sourdough is too busy watchin’ th’ play to answer. Another person has
showed up. It’s Cobalt Williams and he’s drunker than seven hundred
dollars. He shore re-sembles uh hayseed in looks. He leans against th’
fence and said fence resents such familiarity by failin’ down. Cobalt
gits up and leans against th’ house and Tellurium removes him just in
time to save th’ whole structure.
Things seem to be uh li’l mixed, cause jist at this time in comes Ricky
Henderson. He’s sa’nterin’ along whistlin’ and stumbles over Tellurium’s
foot.
“Tellu--Mose Johnson, yuh black----!” snaps Ricky.
“Look where yo’re goin’, yuh stub-nosed maverick!” snorts Tellurium, as
he lifts th’ porch around so she fits th’ house again.
Cobalt sits down on th’ porch and fumbles fer th’ makin’s.
“Chawlie,” gurgles Miss Selva, lookin’ at Ricky, “when did you come?
I’ve been lookin’ fer you for so long.”
“Look’n fer him,” laughs Cobalt. “By g-gosh, Ricky, I can shee two of
yuh. One of yuh co-come over an’ si’ down on schteps.”
Judge Steele gits nervous and wipes his face with a big red-and-blue
handkerchief. Naturally, he loosens his whiskers, which he puts in his
pocket and then tries to make the handkerchief stick to his face. Talk
about buck fever!
Jist then Mrs. Smith and Magpie shows up. By cripes! I shore had to
snort out loud. Mrs. Smith has got on Bill Holt’s hard hat and uh
long black dress and is carryin’ uh cane. Magpie has got on Judge
Steele’s swaller-tailed coat, green pants and uh pair uh shiny boots
that Buck Masterson won from Kid Hanley seven years ago. Magpie’s
got his mustache and eyebrows blacked and on top of his head he’s
sportin’ uh shiny plug hat, which makes him about seven and uh half
feet tall. Mrs. Smith is jist about that in circumference.
Nobody on th’ stage has seen them yet although they makes uh heap uh
noise and stands in plain sight.
“Sh-h-h-h!” sez Magpie. “Play th’ game, my dear, and Sunnybrook farm is
ours. All we need is th’ papers.”
“Trust me, Mag--Dirk,” sez she in that asmy voice, “I know--uh--my
b-business.”
“Sunnybrook!” snorts Dirty Shirt. “That name makes me dry
as---- Sourdough, you got them boots off?”
Jist then Slim Hawkins comes on. He ain’t got no hat on, his sleeves are
rolled up and his collar is unbuttoned. He’s packin’ uh hoss-shoe and uh
hammer.
“Colonel,” sez he to Judge Steele, “I’ve been--say, where in ---- are
yore whiskers?”
The judge removes th’ handkerchief and looks it over.
“Go on, Slim,” sez he. “You play yore part and I’ll play mine. Th’
danged mucilage was weak, I reckon.”
“I was jist goin’ to say that I’ve done shoed Black Bess,” said Slim,
“and I’m believin’ she’ll win th’ Cotton handicap.”
“My boy!” yells th’ judge, grabbin’ fer Slim’s hand and gittin’ th’
hammer instead. “I’d die happy if such things could be. It would pay
off th’ mortgage on Sunnybrook and make things easy fer my li’l gal,
Annibel.”
“Hist!” sez Magpie to Mrs. Smith. “I have it now! I’ll fix that hoss
so she can’t win that race. All you got to do is to win th’ sympathy
of th’ ol’ man and th’ gal. Go to it!”
There’s an old pump in th’ yard and Mrs. Smith waddles over towards it
sorta tired like. She grunts as she leans against it and tries to pump
a drink. She’s so weak she sits down.
“Daddy, who is that?” asks Miss Selva, when she sees Mrs. Smith. “Why,
daddy, she’s faintin’!”
Tellurium trots over and grabs her around th’ waist and tries to hold
her up. By cripes! He shore needed uh derrick, ’cause they both goes
to th’ mat and _smash_! There ain’t no more pump.
“You pore woman,” sez th’ judge, wettin’ his whiskers and wipin’ her
face with them. “Some pore wanderin’ woman without uh friend. Pore li’l
thing! Almost starved to death. Mose, go in and fix th’ guestroom fer
our visitor.”
Jist then in comes Miss Harris. She takes one look at Mrs. Smith and
then squeaks out loud:
“I wouldn’t take her in, colonel. She can’t be uh good woman and dress
like that. Mebby she’s plannin’ to steal th’ family plate. She’s too
purty to trust.”
“Haw! Haw!” yells somebody down in front. “If that’s th’ case we’d
better look out fer them Digger Injun squaws down to Cinnamon Creek.”
Wick Smith got up and walked aroun’ in front of th’ audience.
“Who made them re-marks?” he asks.
“That ask goes double!” states Mrs. Smith, who has recovered from her
faint spell and is now standin’ on th’ edge of th’ stage. “Some uh you
wise galoots from----”
Mrs. Smith’s oration is postponed. There comes uh rip and uh smash and
uh section of two-by-four comes sailin’ across th’ stage and hits Mrs.
Smith in th’ widest part. She squawks loud and settles down gracefully
on ol’ man Thatcher’s head and plumb ruins his fiddle. Uh piece uh
that same scantlin’ swipes Judge Steele across th’ shins and th’ judge
pinwheels outa sight, cussin’ like uh mule skinner. Miss Selva lets uh
mansized whoop escape from her system and emigrates.
“Whoopee!” yells Sourdough, who is nervous and excitable. “Yohe-e-e-e!
Whoop!”
He picks up one of his boots and starts to throw it at th’ stage. Jist
at that time Dirty Shirt starts to stand up and get uh better view of
th’ stage and that boot heel swats him just behind th’ off ear.
“Ump!” sez Dirty Shirt satisfied like, and slumps down into his chair
and slides from there to th’ floor.
“Nice work, Sourdough,” applauds Half Mile. “Nothin’ gaudy nor messy.
Jist clean and comfortable. Git it patented.”
My attention is drawn back to th’ stage. That pretty li’l house is
rapidly comin’ to th’ front and there’s uh heap uh noise behind it.
Then I hears Magpie’s voice yellin’--
“Kick, yuh son-of-a-gun, kick!”
And then out on th’ stage comes old Squaw, with Cobalt on her back and
she’s kickin’ delirious delight out of everything in sight.
“Yowhee!” yells Cobalt. “Buck, you sorrel, buzzard-headed, sun-fishin’,
chunk uh coyote bait! Yeow-w-w-w-h!”
Did she buck? Say, that hoss has th’ rep of bein’ th’ prize bucker of
Montana, but I reckon that she pulls enough right there in th’ middle
of that li’l stage to stretch that rep to cover everything west of
Chicago.
I counts th’ jumps that Cobalt stayed and it was jist two. After which
he stands on his head in th’ first row of seats fer uh moment and then
shoves his boots into Bill Thatcher’s face and goes to sleep.
Old Squaw starts to jump right off the stage into th’ audience and all
th’ male members begins to throw their hats at her to make her go back.
Jist about this time Dirty Shirt comes back to life and gits th’ foolish
idea that them hats are to be shot at.
Th’ first I knowed about it was when his big gun exploded almost under
my nose, and th’ lights went out. Th’ stage light has been busted fer
some time and Dirty Shirt’s bullet plumb ruins th’ big kerosene lamp in
th’ ceilin’. I reckon that tap on th’ head sorta queered his aim and he
shoots high.
Say, that shore was some convention! I could hear everybody yellin’ and
pushin’ and tryin’ to find th’ door and git away from that crazy cayuse
in th’ dark. Jist about that time Dirty Shirt yells in my ear:
“I told yuh not to take them boots off!” And then _Bam!_ Somethin’ hits
me on th’ head and I saw th’ fall of Rome.
* * * * *
When I gits things straightened out again there ain’t no noise goin’ on
a-tall. It shore is dark and silent. As I starts to set up I hears some
one cuss fluently and then uh match is lit.
“I jist come back,” sez uh voice, and I recognizes Dirty Shirt, “to
find out who I hit with that boot. I thought it was Sourdough, but I
finds that he goes out ahead of me.”
“I’m goin’ to quit wearin’ uh gun,” sez I, “and wear a boot. They has
th’ same effect without th’ noise and smoke.”
“Then you ain’t sore at me, Ike?” he asks.
“Not any, Dirty,” sez I. “I thanks yuh fer showin’ me th’ efficiency of
modern weapons.
“Well,” sez he, rubbin’ th’ place behind his off ear, “I’ve been showed,
too, so we’re both eddicated, Ike. Let’s go over and git uh drink. Bein’
as that bronk done busted up our orchestra there ain’t goin’ to be no
dance.”
“Did anybody git killed?” I asked.
“Not yet. Miss Harris and Miss Selva are over at Holt’s house takin’
turns at havin’ hissteeriks or somethin’ like that. Mrs. Smith won’t
ride hossback fer uh spell, and old man Thatcher suffered uh broken
rib and uh fracture of th’ fiddle. Old Squaw kicked all of Ricky
Henderson’s front teeth out and never cut his lips, after which she
essays to dive out of one uh th’ rear windows. She did it too, Ike.”
We starts across th’ street towards Masterson’s saloon and meets Magpie.
“Where’s everybody?” I yells.
“Shut up!” snaps Magpie. “Don’t make so danged much noise, Ike. Judgin’
from some of th’ opinions I’ve heard expressed, our one-act thriller
wasn’t appreciated, and most of th’ crowd are on uh still hunt fer me
and Cobalt. Uh course they blames us. Have you got uh gun with yuh,
Ike?”
“Shore have. Where’s yours?”
“I had it in my hip pocket when the cyclone hit and I accidentally gits
in range of old Squaw. She jist naturally kicks me uh glancin’ blow
which hooks under that six-gun and I reckon it follwered uh quarter
section of my pants plumb out of th’ county. I seen Cobalt foolin’ with
th’ mare and I goes over to see what he’s doin’. Jist then it started.
It shore spoiled one good show, Dirty Shirt.”
“That last re-mark shore prejudices me agin you, Magpie. That were th’
worst show--barrin’ none--that I ever seen.”
“Ike,” sez Magpie, “give me yore gun!”
I did jist that, and he turns to Dirty Shirt.
“Mister Jones, do you appreciate art as it is expressed in our efforts
this evenin’?” sez he, fondlin’ that ol’ gun.
“I done lost my gun in th’ ruckus,” complains Dirty Shirt, “and I done
left that boot up-stairs. Bein’ in said position I don’t hesitate to
state that I shore does appreciate it to th’ depth of my artistic soul,
Mister Simpkins.”
“Hoo, hoo!” sez uh li’l voice behin’ us, and we all turns and strains
our eyes in th’ dark.
“Hoo, hoo, yourself,” returns Magpie.
“Co-come over here and lift this--danged sidewalk off,” pleads a voice,
which we recognize as belongin’ to Cobalt.
We goes over to th’ entrance of th’ hall and lights some matches. We
sees two hands protrudin’ from under th’ walk, which was smashed flat
in th’ hurried exit. We lifts it up and hauls out th’ re-mains of
Cobalt Williams.
“I give thee much thanks fer succor,” wheezes Cobalt.
“If I hadn’t left that boot behind!” mourns Dirty Shirt. “Save uh man’s
life and then have him call yuh uh sucker!”
“This is uh different kind of uh fish,” states Magpie.
“They’re all alike except oysters,” opines Dirty Shirt. “I’m goin’ over
and git some hooch. My nerves shore need bracin’.”
Dirty Shirt goes weavin’ off across th’ street and then I turns to
Magpie.
“Let’s all go up to our cabin. No use stayin’ here on th’ street and
invitin’ disaster.”
When we gits up there Cobalt wants to know what I means by speakin’ of
disaster. He sez he remembers fallin’ down-stairs and rollin’ under th’
walk, and that th’ walk done laid down on him.
“What did yuh do to that hoss?” asks Magpie. “Didn’t I see yuh rubbin’
her hip?”
“Yes,” sez Cobalt, “I was doctorin’ her. You see she’s got uh cut on
her hip and Masterson tells Art Miller what to git to put on it. Art
gits th’ dope on his last trip and, bein’ sorta peeved at th’ show
bunch, he asks me to rub some of it into th’ cut in th’ evenin’. He
didn’t want it to git any worse.”
“Cobalt,” asks Magpie, “do yuh know jist what medicine that was?”
“Shore. I heard Masterson tell Art to git some carbonate bi-sulfid. He
said that with uh li’l external massage it would bring uh dead hoss to
life.”
“You----” began Magpie, but Cobalt wails:
“Aw, don’t git sore, Magpie. I only fol-lered directions.”
“_Errare est humanum_,” quotes Magpie seriously.
“Th’ same in United States means what, Magpie?” asks Cobalt.
“That,” sez Magpie, “in th’ Cree language means ‘To forgive is divine.’
I forgives yuh, Cobalt, fer beatin’ me to it. I had uh stick ready to
put under that bronk’s tail.”
“For th’ love of ---- ” sez I.
“Make it Annibel,” sez Magpie.
[Transcriber’s note: This story appeared in the November 1916 issue
of _Adventure_ magazine.]
*** END OF THE PROJECT GUTENBERG EBOOK FOR THE LOVE OF ANNIBEL ***
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.
