The Project Gutenberg eBook of Title fight
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: Title fight
Author: William Campbell Gault
Release date: November 19, 2023 [eBook #72172]
Language: English
Original publication: New York, NY: King-Size Publications, Inc, 1956
Credits: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net
*** START OF THE PROJECT GUTENBERG EBOOK TITLE FIGHT ***
title fight
By WILLIAM C. GAULT
These robots were coming up in the world, getting too
big for their britches. Nick Nolan would show them....
_In every robot brain there was a remote-controlled circuit
breaker--and in every robot brain there was resentment and the
determination to work for THE DAY. William Campbell Gault, better
known to the readers of our companion magazine_, The Saint
Detective Magazine, _tells the compelling story of the robots
who passed and the robots who fought and who planned for the
moment--and what happened...._
[Transcriber's Note: This etext was produced from
Fantastic Universe December 1956.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]
The sounds from above were dim in the dressing room. Over his head,
between him and the thousands of fans, were the tons of concrete,
robot-made concrete. Man conceived but robot made.
He looked down at his hands, his strong, short-fingered hands. Complete
with fingerprints--but of protonol. Who'd know it, to look at them? In
man's image, he was made. In God's image, man was made, if one believed
in that, any more. In man's image, he was made, but not with man's
status.
His name was Alix 1340, which meant only that he was the thirteen
hundred and fortieth of the Alix type. The short, broad Nordic type. In
about twenty minutes, he was due in the ring. He was fighting for the
middleweight championship of the world.
Joe Nettleton had dreamed that one up. It had been born in the verbiage
of his daily syndicated sports column, nurtured by the fans' clamor,
and fanned into reality--by what? Animosity? These robots were coming
up in the world, getting too big for their britches. Nick Nolan would
show this Alix his place.
Nick was the champ, a man, made in His image. He butted and thumbed and
gouged and heeled. His favorite target was the groin. But _he_ was a
man. Oh, yes, he was a man. A champion among men.
Manny came in. His real title was Manuel 4307, but robots like to
forget the numbers. He was Manny, Alix's manager and number one second.
A deft and sharp and able robot, Manny.
He said, "I thought it would be better if we were alone. No fans,
especially. And I've had a bellyfull of sports writers."
"Even Joe Nettleton?" Alix asked. "Joe's on our side, isn't he?"
"It's hard to say. Do you ever wonder about him, Alix?"
Alix didn't answer, right away. He knew there were robots who 'passed',
went over to the status line and lived as humans. He didn't know how
many there were, and he often wondered about them. In every robot
brain, there was a remote-controlled circuit breaker. They could be
stopped with the throwing of a switch at the personnel center. There
was a well-guarded office and a man on duty at that center twenty-four
hours of every day.
Now Alix said, "I never thought much about Joe, either way."
"What have you been thinking?" Manny asked.
"I've been thinking," Alix said slowly, "that we fight man's wars
and pulverate his garbage and dehydrate his sewerage, but we're not
citizens. Why, Manny?"
"We're not human. We're not--orthodox." Manny was watching him closely
as he spoke.
"Not human? They feed us Bach and Brahms and Beethoven and Shakespeare
and Voltaire in our incubation period, don't they? And all the others
I've forced myself to forget. Does this--this _soul_ come from
somewhere outside the system?"
"I guess it does. They don't feed us much religion, but I guess it
comes from God."
"And what's He like?"
"It would depend upon who you ask, I guess," Manny said. "Sort of a
superman. From Him they get their charity and tolerance and justice and
all the rest of their noble attributes." Manny's laugh was bitter. "How
they love themselves."
"They're so sure about everything else," Alix said, "but not very sure
of their God. Is that it?"
"That's about it. I heard one man say He watches when a sparrow falls.
I guess we're less than the sparrows, Alix."
There was a silence, and then Manny put a hand on Alix's shoulder.
"We've got about fifteen minutes, and I've got a million things to say.
Maybe I should have said them earlier."
Alix turned at the gravity of Manny's voice. His lumagel eyes went over
Manny's dark face, absorbing his rigid intensity. Whatever it was that
was coming, it was more important than the fight.
Manny said quietly, "Win this one, and blood will run in the streets,
Alix."
"Human blood?"
"White man's blood. We've got the Negro, and the Jap and the Chinamen
and all the rest of them who got their rights so recently. And what
kind of rights have they got? Civil, not in the people's hearts. You
think those races don't know it? We were talking of their God, Alix.
Well, the robots have one, too. His name is Alix 1340."
"Manny, you've gone crazy."
"Have I? Joe Nettleton's one of us, Alix. This was his scheme, and the
four men who run the switch at the personnel center; they're ours,
too. Top robots. Their I.Q.'s all crowding two hundred. We've got the
brains, Alix, and the man power. We've got the combined venom of a
billion non-whites. And now we've got you."
"A pug. What kind of god would I make? You're off the beam, Manny."
"Am I? Did I ever give you anything but the straight dope? They adore
you, Alix. You've been a model to them. You could be their king, if you
say the word."
"You've been setting this up, you and Joe Nettleton? This fight
tonight's the crisis? You've been building toward tonight."
"But it takes a front man, a symbol. You're the only one who can be
that. You're the only one they'd all back."
Alix looked again at his hands, the hands that had taken him to the
first mixed fight in history, to a title fight. 'Man Versus The
Machine' most of the sports scribes had labeled it, though not Joe
Nettleton. Machine? A machine that had assimilated Voltaire? A machine
that had listened to Brahms?
What differentiates man from his machines? Supremacy? Supremacy would
be established tonight. No, it wasn't physical supremacy. And there
were robots far beyond man's mental powers.
The spark, then, the spark from their God? How did they know they
had it? In all the wrangling mysticism that had gone through so many
directed misinterpretations, where could they find their God?
"Thinking it over?" Manny asked. "Why so quiet, Alix?"
Alix's grin was saturnine. "Believe it or not, I was thinking of God."
"_Their_ God?"
Alix frowned. "I suppose. Theirs' and the sparrows'."
There were three spaced knocks at the door. Manny said, "Joe Nettleton.
He wants to talk to you. We've got about eight minutes, Alix." He went
to the door.
Joe Nettleton was tall, and pale and brown-eyed. The eyes should be
lumagel, and Alix studied them, but could note no difference from those
of a man.
Joe said to Manny, "He knows?"
Manny nodded.
Joe turned back. "Well--Alix--?"
"I don't know. It's--it's--monstrous, it's--" He shrugged his shoulders
and pounded one hand into the palm of the other.
"You're _it_, Alix. King, god, what you will. For six years, I've built
you up--in _their_ papers, in _their_ minds. Clean, quiet, hard working
Alix. And humble. Oh, the humility I gave you has made me cry, at
times."
Manny said in mild protest, "You didn't have to build that angle much.
Alix is humble. Alix is--he's--he's--" And the articulate Manny had no
words.
Joe Nettleton's pale face was cynical. He said, "The way you feel is
the way they all feel--the black ones out there and the brown ones and
the yellow ones."
"They've got their rights," Alix said.
"Have they? Take a look at the first twenty rows, ringside. You'll
see what rights they have, word rights, paper rights. But not in the
hearts of men. Oh, the grapes of wrath are out there, Alix, beyond the
twentieth row. Haven't you any sense of history, of destiny?"
Alix didn't answer.
Manny said, "He's been thinking of God, he tells me."
Joe Nettleton's face was blank. "God? Their God?" He looked at Alix
wonderingly. "This Superman they scare us with? You don't eat that
malarkey, do you, Alix?"
Alix shrugged, saying nothing.
"They don't believe it themselves," Joe protested. "It's one of those
symbols they set up, to make them superior. They ever tell you what He
looks like? Oh, they give Him a prophet, sure, and the prophet gives
them words to live by. Don't kill, don't steal, don't lie, don't lust,
don't envy--Words, Alix, words, words, words--Judge them by their
actions."
Alix looked up. "I'm not--cut out to be a leader."
"Yes, you are. And I cut you out, in their minds, with words. The brown
ones read me and the black ones and the yellow ones, and I built you
up, in their minds--_and tonight they'll wait for a signal from you_."
"A signal from me? Are you--what--?"
"A signal from you. To those in the crowd, to those watching on the
video screens, the ones who are briefed and _know_ about rioting, about
how to steer a revolution. Think of the irony of it--man's prejudice
building the army of resentment and man's genius building the machines
that army can use to destroy man--white man. White man--first."
"First--?" Manny said. "You've dreams beyond tonight, Joe?"
Joe smiled disarmingly. "I use too many words. That one got away. We
can't think beyond tonight, now." He turned to Alix. "It's not an
involved signal, Alix. It's just one word. The word is 'kill'. From
_you_ it's more than a word, it's an order."
There was a knock at the door, and the sono-bray above the door said,
"Time to go up. Time for the big one."
All three were silent, and then Joe put a hand on Alix's shoulder. "You
can't give the signal from your back, Alix. You'd better be standing
up, when this one is over with."
Alix looked at Joe, trying to read behind those brown eyes. Alix said,
"I'll be standing up. There's never been a second I doubted that."
They went out, and there was a clamor, a ring of scribes in the
corridor beyond the showers. One of them voiced it for all of them,
"What the hell is this, Manny? Joe a cousin, or something. How about a
statement?"
Manny looked at them bleakly. "We hope to win, but we're up against a
superior being. It's in God's lap."
Cynical men, but they resented the blasphemy--coming from a robot.
Joe said, "And Alix is his prophet. Who's betting what?"
No answer. They stared at Joe, and some wrote down a few words. One of
them looked at Alix.
"How about you, Alix? How do you feel?"
Alix, the humble, the new day Uncle Tom, the subservient. Alix lifted
his chin and didn't smile. "Confident. I'll win."
"How?" another asked.
"Hitting him harder, and oftener. What's he got but a hook and an iron
jaw?"
"Guts," one of them said. "You've got to hand him that, Alix."
"I concede nothing," Alix answered. "We'll see, tonight."
* * * * *
There were no further questions. They went down the long aisle that led
to the bright ring, Manny and Alix and the other handler, who'd been
waiting in the prelim boys' shower room.
Eighty thousand people in the Bowl, a clear, warm night, and millions
watching on the video screens around the globe. Video hadn't hurt this
one--this was history, a robot crossing the status line. They wanted to
be a part of this.
The referee was black, Willie Newton. It would look like less
favoritism, if the referee was black, reasoned the white man in their
left-handed reasoning.
Bugs around the arcs, and big, ebony Willie in his striped shirt,
waiting in the ring, smiling, just _happening_ to be in Alix's corner
as he climbed through.
Willie bent, pretending to help part the ropes. Willie whispered,
"You'll get all the breaks you need, Alix."
Alix came through and stood erect. "I don't want a single break,
Willie, just a fair shake. _You_ can understand it has to be like that."
"I can, Alix. I'm sorry. About the name--just Alix? Or I could blur the
rest."
"Alix one-three-four-oh, not blurred. It's my name."
He turned from Willie then, acknowledging the thunder behind him,
both hands high in salute. He could see the rows stretching out from
ringside--the first twenty all white. Most of the thunder came from
high in the stands.
And now the champ came down his aisle, his faded purple dressing robe
across his bulky shoulders, his handlers a respectful few paces behind
him.
Nick Nolan, the middleweight champion of the world. His ears were
lumpy, his brows ridged with scar tissue. His round head centered on
those bulky shoulders, apparently with no neck to connect them. A
fringe of red hair and a brutal, thick featured face.
Made in His image?
Some words ran through Alix's mind--"Is this the Thing Lord God made
and gave--To have dominion over sea and land...?"
This was a hell of a time to be recalling Markham.
Nick came over to his corner, the false geniality on his face as phoney
as the gesture of a champ coming to the challenger's corner. Nick said,
"Best--between us, huh?"
"The better," Alix corrected him. "Keep them above the belt, Nick."
Nick grinned. "Don't I always? I came up the hard way, Alix."
Alix said nothing, staring.... _when this dumb Terror shall rise to
judge the world_....
A man with a hook and an urge to combat. The hard way? Maybe. He'd
taken enough punches to give him a lifetime lease on Queer Street.
But he'd handed out more than he'd received. A spoiler and a mixer. A
weight-draper and in-fighter and an easy bleeder.
_Blood will run in the streets, Alix...._
In the ring, Nick's blood would flow, and further stain the spotted
canvas. In the streets, the blood of Nick's brothers would flow, in the
streets around the world.
Title fight? Oh, yes.
The Irishman first, he'd come up through the ring to his grudging
equality, and the Jew, then, and the Filipino and the Negro and the
Cuban and all the others who wouldn't stay down. Who had their fists
and their guts. Mickey Walker, Benny Leonard, Joe Louis--immortals all.
Great men, great champs, great memories.
And he? Alix 1340? Different, a machine, no spark. He'd almost
forgotten about no spark.
Nick's manager came over to inspect the bandages on Alix's hands,
and then went back to his corner with Manny to inspect those on the
battered hands of the champ.
Alix's hands were clean lined, no breaks, no lumps. Alix was a
scientific hitter, and his protocol was better than the natural product.
_He watches the sparrows_, Manny had said. A _signal_, Joe had said. I
wish somebody would give me a signal, Alix thought. It's too big for
me.
The introductions, the numbers not blurred. The instructions, and
Willie saying, "Clean tonight, Nick. I know you well, Nick. But this
one is touchy, remember."
"Ah, save it," Nick told him. Champ, big man, Nick Nolan.
The buzzer and Manny's brief pat on the shoulder. Rising, and flexing
on the ropes, looking down into that sea of faces, white faces. The
ones who held dominion over sea and land.
Bugs in the arcs, a hush on the crowd and the bell.
Alix turned and here came Nick, shuffling across, wasting no time,
bringing the fight to the upstart.
Nick had a right hand, too, but it was clumsy. The hook was better
trained. Alix circled to his left, away from Nick's left, and put his
jab easily to Nick's nose.
There are sportswriters, Alix knew, who talked of a _right_ hook, but
a man would need to be a contortionist to throw it. Unless he was
_completely_ unorthodox. Or a southpaw.
Nick was neither. Nick had a right hand like a mallet, but it came from
below or above, and was telegraphed by the pulling up of his right
foot. Nick saved that for the time his opponent couldn't see or react.
Nick came in with the hook, trying to slide under Alix's extended left
hand, trying to time the pattern of his feet to Alix's circling,
looking for the hole.
Alix peppered him with the left, and then saw the low left hand of
Nick's. Alix stopped circling--and tossed a singing right.
It traveled over Nick's left and found the button. Nick took two
stumbling backward steps, and went down.
Resin dust swirled and the scream of the stands was like a single
anguished cry.
Alix went to a neutral corner, shrugging his shoulder muscles loose,
trying to still the sudden pounding of his heart. Nick had been knocked
down before, often.
He took a full count, under the rules, but was on one knee at three.
The big black semaphore of Willie's right hand and then those hands
wiping the gloves and Willie stepping clear.
Nick stormed in. He got through Alix's left, this time, and sent a
looping right hand high. It missed, but it was meant to miss. Nick's
elbow smashed Alix's mouth.
Rage, a red rage and they stood in the corner, trading leather.
The hook came in low, and pain knifed into Alix's groin. In his aching
blindness he could feel Nick's feet groping for his, trying to find his
instep.
Champion, model.
Alix grabbed, and hung on. This one he had to win. This one could be
lost, right now.
Nick said, "Break it up, phoney man. I can't hit you when you're
hanging on."
The big slap of Willie's hand. Willie, playing it straight. Alix broke
at the touch.
Alix broke--and Nick threw the right hand, on the break.
Foul? Of course, but Alix went down, his senses numb, his mind turning
black. He lay on his face, not moving, the blackness moving through his
body.
_What's this God like? It would depend upon who you ask. They ever tell
you what He looks like?_ The blackness turned red, the red of blood,
running in the streets. And there was suddenly a cross, and a dim
figure and he heard Willie's sonorous, "Five, six--"
He turned over at seven, was on one knee at eight and up at nine. And
Nick came bulling in, both hands ready.
The bell.
He got to his corner without Manny's help. The magic of Manny's hands
dug at his neck, bringing clarity. The ice, the other handler probing
at his flaccid legs.
"I saw a cross, Manny."
"Nobody's crossing us, Alix. Don't think, Alix. Here." He gave him the
water bottle.
Alix rinsed his mouth, and spit it out. "He's rough, Manny. He knows
all the tricks."
"Don't you?"
"I don't want to. I saw a cross when I was unconscious, Manny. A cross
like you see on a church."
"Don't tell me about it. Get him, boy. Don't try to mix with him, but
get him, with that left, with your speed, with your brain. Get him."
"I'll try. But he's not typical, Manny. They're not all like Nick."
"The hell they aren't. He's one of the better ones. Get him."
The buzzer, the bell, and Nick.
Nick with the iron jaw, Nick with the hook and the bulging shoulders,
Nick the champion.
Alix put the left into Nick's face, but it wasn't a jab. It was a
straight left, with shoulder in it. It twisted Nick's nose, and brought
blood.
Nick was nettled, and he charged. He charged into a straight, sweet
right hand that was delivered from a flat-footed stance. Nick wavered,
and tried to grab.
Alix felt his strength pour back and the pattern of his feet was sure
and planned. A left, a feint, a jolting right, moving around this hulk,
this blundering knot of flesh and muscle, beating a tattoo on him,
spreading the blood. _Get him._
It looked like a slaughter-house. Blood all over Nick's face, and blood
matting the curled, sweaty hair on his chest. Starting to look dazed,
starting to wonder, the champ. The untypical man? He must be, he had
to be, to have dominion over sea and land.
Why didn't he go down? Couldn't he see the pattern of it, the pattern
Alix was tracing for him with his blood-soaked gloves? Why didn't he go
down? Why didn't he quit?
He hadn't quit by the end of the fifth round. Out there, those eighty
thousand were silent. This was no fight, this was now murder. Why
didn't he quit?
Alix asked Manny, on the stool, before the sixth, "Why doesn't he quit?
He can't win. Manny, I hate to hit him."
"Don't be a sucker. Don't be a damned fool." Manny's voice was hoarse.
"As long as there's a spark of life in those bastards, they won't quit.
He's dangerous yet, Alix."
A spark, a spark--Life? Cognizance? No, life, a spark of life.
In the sixth, Nick almost went to his knees, in the middle of the ring.
But he got control, and stumbled toward Alix.
Alix came in fast and carelessly--and the earth erupted.
He's dangerous, yet, Alix. There was no blackness this time, just the
blood red. There was no cross. But a voice? "In the sky, in the sky--"
Silence.
Get up, Alix. For the black and brown and red and yellow who are
watching you, around the world, get up. You're their hope, you're their
WORD. Up, to one knee, and up just under the wire.
Nick didn't charge, this time. Wary and careful, he was, after the
pasting he'd been taking. Let Alix make the mistakes, like the one he
just had. Nick only needed one more.
Manny said, "Can you hit him, now? Still mourning for him, are you?"
Alix said, "I'm a machine, Manny. He can't hurt me. I can hurt him, but
he can't hurt me."
"That's my boy." Manny said. "I'm glad you know what side of the fence
you're on, finally."
"I know my place," Alix said. "I know my job."
"That you do. Get him."
He got him. They don't quit, these men. Not while they're conscious.
Not while they're alive. Alix hit him everywhere there was room to hit,
with both hands, knocking him down four times in the seventh round.
Each time, Nick got up. And in the eighth, he came out to meet Alix,
walking into his doom, not flinching, not hiding, putting his crown on
the line.
Supremacy? Nick had it, bastard though he was. But for how long? How
long could he stay that dumb and still live?
Nick came out, his low hands a farce of a defense.
How long could he hold the animosity down with his arrogance and his
brutality and his shoddiness? How much time did he have? Alix knew.
Nick came out for the eighth, and Alix hit him with a solid right hand.
He didn't set it up, or feint Nick into the spot, or hesitate. There
wasn't any need to.
He put all his weight and most of his bitterness into the button-shot
that made him middleweight champion of the world.
Silence, a shocked silence at the history before them, and then, from
the far seats, from the cheap seats, acclamation. The video cameras
covered the ring, the crowd; the lights went on all over the huge bowl.
Manny hugged him, Joe Nettleton hugged him, and others.
In the far seats, no one moved. In the near seats, no one moved. Joe
said, "The word, Alix."
They were bringing the banked microphones over, the microphones that
would carry the word all over the world. The cameras trained on him.
The word.
He looked at Joe, and Manny. He brought the mikes to mouth level, and
moved back a bit. He said, "I won, tonight. I've no message for you.
But someone has. It's in the sky."
Craning necks, a murmur, the cameras leaving Alix as the operators
swung the huge machines toward the red letters in the sky.
Beside him, Manny gasped. Joe Nettleton stared, unbelieving, his mouth
slack.
Red letters? Something like red, but luminous and miles high, and
definite. The cameras were trained directly on it, now.
_FIND YOUR GOD._
Manny said, "Alix--how--Are you, did you--? Alix, what in hell are you?"
"There's more to it they don't know," Alix said. "It's 'find your God
or your machines will kill you'. I don't think there's any need to
tell them the rest if they obey the first."
Manny said hoarsely, "But this message came through you? You're a--"
"A prophet? Me, a machine, Alix 1340?"
Joe said, "You're not sending out the other word?"
"Not yet. It's not time."
"How do _you_ know," Manny cut in. "How do you know if it's time or
not? And if their God wanted to send a message, why should he use a
machine? Why should he use you?"
"Because," Alix said, "no man would listen. And if they don't listen,
now, Manny, our time _will_ come...."
*** END OF THE PROJECT GUTENBERG EBOOK TITLE FIGHT ***
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 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. 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.
