The Hoofer

By Walter M. Miller

The Project Gutenberg EBook of The Hoofer, by Walter M. Miller

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


Title: The Hoofer

Author: Walter M. Miller

Release Date: June 19, 2009 [EBook #29170]

Language: English


*** START OF THIS PROJECT GUTENBERG EBOOK THE HOOFER ***




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









    _A wayfarer's return from a far country to his wife and family may
    be a shining experience, a kind of second honeymoon. Or it may be so
    shadowed by Time's relentless tyranny that the changes which have
    occurred in his absence can lead only to tragedy and despair. This
    rarely discerning, warmly human story by a brilliant newcomer to the
    science fantasy field is told with no pulling of punches, and its
    adroit unfolding will astound you._


    the
 hoofer

 _by ... Walter M. Miller, Jr._


 A space rover has no business with a family. But what can a man
 in the full vigor of youth do--if his heart cries out for a home?


They all knew he was a spacer because of the white goggle marks on his
sun-scorched face, and so they tolerated him and helped him. They even
made allowances for him when he staggered and fell in the aisle of the
bus while pursuing the harassed little housewife from seat to seat and
cajoling her to sit and talk with him.

Having fallen, he decided to sleep in the aisle. Two men helped him to
the back of the bus, dumped him on the rear seat, and tucked his gin
bottle safely out of sight. After all, he had not seen Earth for nine
months, and judging by the crusted matter about his eyelids, he couldn't
have seen it too well now, even if he had been sober. Glare-blindness,
gravity-legs, and agoraphobia were excuses for a lot of things, when a
man was just back from Big Bottomless. And who could blame a man for
acting strangely?

Minutes later, he was back up the aisle and swaying giddily over the
little housewife. "How!" he said. "Me Chief Broken Wing. You wanta
Indian wrestle?"

The girl, who sat nervously staring at him, smiled wanly, and shook her
head.

"Quiet li'l pigeon, aren'tcha?" he burbled affectionately, crashing into
the seat beside her.

The two men slid out of their seats, and a hand clamped his shoulder.
"Come on, Broken Wing, let's go back to bed."

"My name's Hogey," he said. "Big Hogey Parker. I was just kidding about
being a Indian."

"Yeah. Come on, let's go have a drink." They got him on his feet, and
led him stumbling back down the aisle.

"My ma was half Cherokee, see? That's how come I said it. You wanta hear
a war whoop? Real stuff."

"Never mind."

He cupped his hands to his mouth and favored them with a blood-curdling
proof of his ancestry, while the female passengers stirred restlessly
and hunched in their seats. The driver stopped the bus and went back to
warn him against any further display. The driver flashed a deputy's
badge and threatened to turn him over to a constable.

"I gotta get home," Big Hogey told him. "I got me a son now, that's why.
You know? A little baby pigeon of a son. Haven't seen him yet."

"Will you just sit still and be quiet then, eh?"

Big Hogey nodded emphatically. "Shorry, officer, I didn't mean to make
any trouble."

When the bus started again, he fell on his side and lay still. He made
retching sounds for a time, then rested, snoring softly. The bus driver
woke him again at Caine's junction, retrieved his gin bottle from behind
the seat, and helped him down the aisle and out of the bus.

Big Hogey stumbled about for a moment, then sat down hard in the gravel
at the shoulder of the road. The driver paused with one foot on the
step, looking around. There was not even a store at the road junction,
but only a freight building next to the railroad track, a couple of
farmhouses at the edge of a side-road, and, just across the way, a
deserted filling station with a sagging roof. The land was Great Plains
country, treeless, barren, and rolling.

Big Hogey got up and staggered around in front of the bus, clutching at
it for support, losing his duffle bag.

"Hey, watch the traffic!" The driver warned. With a surge of unwelcome
compassion he trotted around after his troublesome passenger, taking his
arm as he sagged again. "You crossing?"

"Yah," Hogey muttered. "Lemme alone, I'm okay."

The driver started across the highway with him. The traffic was sparse,
but fast and dangerous in the central ninety-mile lane.

"I'm okay," Hogey kept protesting. "I'm a tumbler, ya know? Gravity's
got me. Damn gravity. I'm not used to gravity, ya know? I used to be a
tumbler--_huk!_--only now I gotta be a hoofer. 'Count of li'l Hogey. You
know about li'l Hogey?"

"Yeah. Your son. Come on."

"Say, you gotta son? I bet you gotta son."

"Two kids," said the driver, catching Hogey's bag as it slipped from his
shoulder. "Both girls."

"Say, you oughta be home with them kids. Man oughta stick with his
family. You oughta get another job." Hogey eyed him owlishly, waggled a
moralistic finger, skidded on the gravel as they stepped onto the
opposite shoulder, and sprawled again.

The driver blew a weary breath, looked down at him, and shook his head.
Maybe it'd be kinder to find a constable after all. This guy could get
himself killed, wandering around loose.

"Somebody supposed to meet you?" he asked, squinting around at the dusty
hills.

"_Huk!_--who, me?" Hogey giggled, belched, and shook his head. "Nope.
Nobody knows I'm coming. S'prise. I'm supposed to be here a week ago."
He looked up at the driver with a pained expression. "Week late, ya
know? Marie's gonna be sore--woo-_hoo_!--is she gonna be sore!" He
waggled his head severely at the ground.

"Which way are you going?" the driver grunted impatiently.

Hogey pointed down the side-road that led back into the hills. "Marie's
pop's place. You know where? 'Bout three miles from here. Gotta walk, I
guess."

"Don't," the driver warned. "You sit there by the culvert till you get a
ride. Okay?"

Hogey nodded forlornly.

"Now stay out of the road," the driver warned, then hurried back across
the highway. Moments later, the atomic battery-driven motors droned
mournfully, and the bus pulled away.

Big Hogey blinked after it, rubbing the back of his neck. "Nice people,"
he said. "Nice buncha people. All hoofers."

With a grunt and a lurch, he got to his feet, but his legs wouldn't work
right. With his tumbler's reflexes, he fought to right himself with
frantic arm motions, but gravity claimed him, and he went stumbling into
the ditch.

"Damn legs, damn crazy legs!" he cried.

The bottom of the ditch was wet, and he crawled up the embankment with
mud-soaked knees, and sat on the shoulder again. The gin bottle was
still intact. He had himself a long fiery drink, and it warmed him deep
down. He blinked around at the gaunt and treeless land.

The sun was almost down, forge-red on a dusty horizon. The
blood-streaked sky faded into sulphurous yellow toward the zenith, and
the very air that hung over the land seemed full of yellow smoke, the
omnipresent dust of the plains.

A farm truck turned onto the side-road and moaned away, its driver
hardly glancing at the dark young man who sat swaying on his duffle bag
near the culvert. Hogey scarcely noticed the vehicle. He just kept
staring at the crazy sun.

He shook his head. It wasn't really the sun. The sun, the real sun, was
a hateful eye-sizzling horror in the dead black pit. It painted
everything with pure white pain, and you saw things by the reflected
pain-light. The fat red sun was strictly a phoney, and it didn't fool
him any. He hated it for what he knew it was behind the gory mask, and
for what it had done to his eyes.

       *       *       *       *       *

With a grunt, he got to his feet, managed to shoulder the duffle bag,
and started off down the middle of the farm road, lurching from side to
side, and keeping his eyes on the rolling distances. Another car turned
onto the side-road, honking angrily.

Hogey tried to turn around to look at it, but he forgot to shift his
footing. He staggered and went down on the pavement. The car's tires
screeched on the hot asphalt. Hogey lay there for a moment, groaning.
That one had hurt his hip. A car door slammed and a big man with a
florid face got out and stalked toward him, looking angry.

"What the hell's the matter with you, fella?" he drawled. "You soused?
Man, you've really got a load."

Hogey got up doggedly, shaking his head to clear it. "Space legs," he
prevaricated. "Got space legs. Can't stand the gravity."

The burly farmer retrieved his gin bottle for him, still miraculously
unbroken. "Here's your gravity," he grunted. "Listen, fella, you better
get home pronto."

"Pronto? Hey, I'm no Mex. Honest, I'm just space burned. You know?"

"Yeah. Say, who are you, anyway? Do you live around here?"

It was obvious that the big man had taken him for a hobo or a tramp.
Hogey pulled himself together. "Goin' to the Hauptman's place. Marie.
You know Marie?"

The farmer's eyebrows went up. "Marie Hauptman? Sure I know her. Only
she's Marie Parker now. Has been, nigh on six years. Say--" He paused,
then gaped. "You ain't her husband by any chance?"

"Hogey, that's me. Big Hogey Parker."

"Well, I'll be--! Get in the car. I'm going right past John Hauptman's
place. Boy, you're in no shape to walk it."

He grinned wryly, waggled his head, and helped Hogey and his bag into
the back seat. A woman with a sun-wrinkled neck sat rigidly beside the
farmer in the front, and she neither greeted the passenger nor looked
around.

"They don't make cars like this anymore," the farmer called over the
growl of the ancient gasoline engine and the grind of gears. "You can
have them new atomics with their loads of hot isotopes under the seat.
Ain't safe, I say--eh, Martha?"

The woman with the sun-baked neck quivered her head slightly. "A car
like this was good enough for Pa, an' I reckon it's good enough for us,"
she drawled mournfully.

Five minutes later the car drew in to the side of the road. "Reckon you
can walk it from here," the farmer said. "That's Hauptman's road just up
ahead."

He helped Hogey out of the car and drove away without looking back to
see if Hogey stayed on his feet. The woman with the sun-baked neck was
suddenly talking garrulously in his direction.

It was twilight. The sun had set, and the yellow sky was turning gray.
Hogey was too tired to go on, and his legs would no longer hold him. He
blinked around at the land, got his eyes focused, and found what looked
like Hauptman's place on a distant hillside. It was a big frame house
surrounded by a wheatfield, and a few scrawny trees. Having located it,
he stretched out in the tall grass beyond the ditch to take a little
rest.

Somewhere dogs were barking, and a cricket sang creaking monotony in the
grass. Once there was the distant thunder of a rocket blast from the
launching station six miles to the west, but it faded quickly. An
A-motored convertible whined past on the road, but Hogey went unseen.

When he awoke, it was night, and he was shivering. His stomach was
screeching, and his nerves dancing with high voltages. He sat up and
groped for his watch, then remembered he had pawned it after the poker
game. Remembering the game and the results of the game made him wince
and bite his lip and grope for the bottle again.

He sat breathing heavily for a moment after the stiff drink. Equating
time to position had become second nature with him, but he had to think
for a moment because his defective vision prevented him from seeing the
Earth-crescent.

Vega was almost straight above him in the late August sky, so he knew it
wasn't much after sundown--probably about eight o'clock. He braced
himself with another swallow of gin, picked himself up and got back to
the road, feeling a little sobered after the nap.

He limped on up the pavement and turned left at the narrow drive that
led between barbed-wire fences toward the Hauptman farmhouse, five
hundred yards or so from the farm road. The fields on his left belonged
to Marie's father, he knew. He was getting close--close to home and
woman and child.

He dropped the bag suddenly and leaned against a fence post, rolling his
head on his forearms and choking in spasms of air. He was shaking all
over, and his belly writhed. He wanted to turn and run. He wanted to
crawl out in the grass and hide.

What were they going to say? And Marie, Marie most of all. How was he
going to tell her about the money?

Six hitches in space, and every time the promise had been the same: _One
more tour, baby, and we'll have enough dough, and then I'll quit for
good. One more time, and we'll have our stake--enough to open a little
business, or buy a house with a mortgage and get a job._

And she had waited, but the money had never been quite enough until this
time. This time the tour had lasted nine months, and he had signed on
for every run from station to moon-base to pick up the bonuses. And this
time he'd made it. Two weeks ago, there had been forty-eight hundred in
the bank. And now ...

"_Why?_" he groaned, striking his forehead against his forearms. His arm
slipped, and his head hit the top of the fencepost, and the pain blinded
him for a moment. He staggered back into the road with a low roar, wiped
blood from his forehead, and savagely kicked his bag.

It rolled a couple of yards up the road. He leaped after it and kicked
it again. When he had finished with it, he stood panting and angry, but
feeling better. He shouldered the bag and hiked on toward the farmhouse.

They're hoofers, that's all--just an Earth-chained bunch of hoofers,
even Marie. And I'm a tumbler. A born tumbler. Know what that means? It
means--God, what does it mean? It means out in Big Bottomless, where
Earth's like a fat moon with fuzzy mold growing on it. Mold, that's all
you are, just mold.

A dog barked, and he wondered if he had been muttering aloud. He came to
a fence-gap and paused in the darkness. The road wound around and came
up the hill in front of the house. Maybe they were sitting on the porch.
Maybe they'd already heard him coming. Maybe ...

He was trembling again. He fished the fifth of gin out of his coat
pocket and sloshed it. Still over half a pint. He decided to kill it. It
wouldn't do to go home with a bottle sticking out of his pocket. He
stood there in the night wind, sipping at it, and watching the reddish
moon come up in the east. The moon looked as phoney as the setting sun.

He straightened in sudden determination. It had to be sometime. Get it
over with, get it over with now. He opened the fence-gap, slipped
through, and closed it firmly behind him. He retrieved his bag, and
waded quietly through the tall grass until he reached the hedge which
divided an area of sickly peach trees from the field. He got over the
hedge somehow, and started through the trees toward the house. He
stumbled over some old boards, and they clattered.

"_Shhh!_" he hissed, and moved on.

The dogs were barking angrily, and he heard a screen door slam. He
stopped.

"Ho there!" a male voice called experimentally from the house.

One of Marie's brothers. Hogey stood frozen in the shadow of a peach
tree, waiting.

"Anybody out there?" the man called again.

Hogey waited, then heard the man muttering, "Sic 'im, boy, sic 'im."

The hound's bark became eager. The animal came chasing down the slope,
and stopped ten feet away to crouch and bark frantically at the shadow
in the gloom. He knew the dog.

"Hooky!" he whispered. "Hooky boy--here!"

The dog stopped barking, sniffed, trotted closer, and went "_Rrrooff!_"
Then he started sniffing suspiciously again.

"Easy, Hooky, here boy!" he whispered.

The dog came forward silently, sniffed his hand, and whined in
recognition. Then he trotted around Hogey, panting doggy affection and
dancing an invitation to romp. The man whistled from the porch. The dog
froze, then trotted quickly back up the slope.

"Nothing, eh, Hooky?" the man on the porch said. "Chasin' armadillos
again, eh?"

The screen door slammed again, and the porch light went out. Hogey stood
there staring, unable to think. Somewhere beyond the window lights
were--his woman, his son.

What the hell was a tumbler doing with a woman and a son?

After perhaps a minute, he stepped forward again. He tripped over a
shovel, and his foot plunged into something that went _squelch_ and
swallowed the foot past the ankle. He fell forward into a heap of sand,
and his foot went deeper into the sloppy wetness.

He lay there with his stinging forehead on his arms, cursing softly and
crying. Finally he rolled over, pulled his foot out of the mess, and
took off his shoes. They were full of mud--sticky sandy mud.

The dark world was reeling about him, and the wind was dragging at his
breath. He fell back against the sand pile and let his feet sink in the
mud hole and wriggled his toes. He was laughing soundlessly, and his
face was wet in the wind. He couldn't think. He couldn't remember where
he was and why, and he stopped caring, and after a while he felt better.

The stars were swimming over him, dancing crazily, and the mud cooled
his feet, and the sand was soft behind him. He saw a rocket go up on a
tail of flame from the station, and waited for the sound of its blast,
but he was already asleep when it came.

It was far past midnight when he became conscious of the dog licking
wetly at his ear and cheek. He pushed the animal away with a low curse
and mopped at the side of his face. He stirred, and groaned. His feet
were burning up! He tried to pull them toward him, but they wouldn't
budge. There was something wrong with his legs.

For an instant he stared wildly around in the night. Then he remembered
where he was, closed his eyes and shuddered. When he opened them again,
the moon had emerged from behind a cloud, and he could see clearly the
cruel trap into which he had accidentally stumbled. A pile of old
boards, a careful stack of new lumber, a pick and shovel, a sand-pile,
heaps of fresh-turned earth, and a concrete mixer--well, it added up.

He gripped his ankles and pulled, but his feet wouldn't budge. In sudden
terror, he tried to stand up, but his ankles were clutched by the
concrete too, and he fell back in the sand with a low moan. He lay still
for several minutes, considering carefully.

He pulled at his left foot. It was locked in a vise. He tugged even more
desperately at his right foot. It was equally immovable.

He sat up with a whimper and clawed at the rough concrete until his
nails tore and his fingertips bled. The surface still felt damp, but it
had hardened while he slept.

He sat there stunned until Hooky began licking at his scuffed fingers.
He shouldered the dog away, and dug his hands into the sand-pile to stop
the bleeding. Hooky licked at his face, panting love.

"Get away!" he croaked savagely.

The dog whined softly, trotted a short distance away, circled, and came
back to crouch down in the sand directly before Hogey, inching forward
experimentally.

Hogey gripped fistfuls of the dry sand and cursed between his teeth,
while his eyes wandered over the sky. They came to rest on the sliver of
light--the space station--rising in the west, floating out in Big
Bottomless where the gang was--Nichols and Guerrera and Lavrenti and
Fats. And he wasn't forgetting Keesey, the rookie who'd replaced him.

Keesey would have a rough time for a while--rough as a cob. The pit was
no playground. The first time you went out of the station in a suit, the
pit got you. Everything was falling, and you fell, with it. Everything.
The skeletons of steel, the tire-shaped station, the spheres and docks
and nightmare shapes--all tied together by umbilical cables and flexible
tubes. Like some crazy sea-thing they seemed, floating in a black ocean
with its tentacles bound together by drifting strands in the dark tide
that bore it.

       *       *       *       *       *

Everything was pain-bright or dead black, and it wheeled around you, and
you went nuts trying to figure which way was down. In fact, it took you
months to teach your body that _all_ ways were down and that the pit was
bottomless.

He became conscious of a plaintive sound in the wind, and froze to
listen.

It was a baby crying.

It was nearly a minute before he got the significance of it. It hit him
where he lived, and he began jerking frantically at his encased feet and
sobbing low in his throat. They'd hear him if he kept that up. He
stopped and covered his ears to close out the cry of his firstborn. A
light went on in the house, and when it went off again, the infant's cry
had ceased.

Another rocket went up from the station, and he cursed it. Space was a
disease, and he had it.

"Help!" he cried out suddenly. "I'm stuck! Help me, help me!"

He knew he was yelling hysterically at the sky and fighting the
relentless concrete that clutched his feet, and after a moment he
stopped.

The light was on in the house again, and he heard faint sounds. The
stirring-about woke the baby again, and once more the infant's wail came
on the breeze.

_Make the kid shut up, make the kid shut up ..._

But that was no good. It wasn't the kid's fault. It wasn't Marie's
fault. No fathers allowed in space, they said, but it wasn't their fault
either. They were right, and he had only himself to blame. The kid was
an accident, but that didn't change anything. Not a thing in the world.
It remained a tragedy.

A tumbler had no business with a family, but what was a man going to do?
Take a skinning knife, boy, and make yourself a eunuch. But that was no
good either. They needed bulls out there in the pit, not steers. And
when a man came down from a year's hitch, what was he going to do? Live
in a lonely shack and read books for kicks? Because you were a man, you
sought out a woman. And because she was a woman, she got a kid, and that
was the end of it. It was nobody's fault, nobody's at all.

He stared at the red eye of Mars low in the southwest. They were running
out there now, and next year he would have been on the long long run ...

But there was no use thinking about it. Next year and the years after
belonged to _little_ Hogey.

He sat there with his feet locked in the solid concrete of the footing,
staring out into Big Bottomless while his son's cry came from the house
and the Hauptman menfolk came wading through the tall grass in search of
someone who had cried out. His feet were stuck tight, and he wouldn't
ever get them out. He was sobbing softly when they found him.




Transcriber's Note:

    This etext was produced from _Fantastic Universe_ September 1955.
    Extensive research did not uncover any evidence that the U.S.
    copyright on this publication was renewed. Minor spelling and
    typographical errors have been corrected without note.





End of the Project Gutenberg EBook of The Hoofer, by Walter M. Miller

*** END OF THIS PROJECT GUTENBERG EBOOK THE HOOFER ***

***** This file should be named 29170.txt or 29170.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/9/1/7/29170/

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


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

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



*** START: FULL LICENSE ***

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1.F.

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

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

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

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

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

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


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

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

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


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

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

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

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


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

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

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

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

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

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


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

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


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


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

     http://www.gutenberg.org

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