Full download ebooks at https://ebookgrade.

com

(Test Bank) Business Government and Society A

Managerial Perspective 13th Edition by John
Steiner

For dowload this book click link below

https://ebookgrade.com/product/test-bank-business-
government-and-society-a-managerial-perspective-13th-
edition-by-john-steiner/

OR CLICK BUTTON

DOWLOAD NOW
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

(Test Bank) Business Government and Society A

Managerial Perspective 13th Edition by John Steiner

https://ebookgrade.com/product/test-bank-business-government-and-
society-a-managerial-perspective-13th-edition-by-john-steiner/

(Test Bank) International Business A Managerial

Perspective 8th Edition by Griffin

https://ebookgrade.com/product/test-bank-international-business-
a-managerial-perspective-8th-edition-by-griffin/

International Business A Managerial Perspective 8th

Edition

https://ebookgrade.com/product/international-business-a-
managerial-perspective-8th-edition/

(Test Bank) Business Intelligence A Managerial

Perspective on Analytics 3rd Edition

https://ebookgrade.com/product/test-bank-business-intelligence-a-
managerial-perspective-on-analytics-3rd-edition/
Society The Basics 13th Edition by John J.Macionis

https://ebookgrade.com/product/society-the-basics-13th-edition-
by-john-j-macionis/

International Business A Managerial Perspective 8 E

https://ebookgrade.com/product/international-business-a-
managerial-perspective-8-e/

(Test Bank) Business Intelligence A Managerial

Perspective on Analytics Global Edition 3th

https://ebookgrade.com/product/test-bank-business-intelligence-a-
managerial-perspective-on-analytics-global-edition-3th/

(Test Bank) Business and Society Stakeholders Ethics

Public Policy 13th Edition by Lawrence

https://ebookgrade.com/product/test-bank-business-and-society-
stakeholders-ethics-public-policy-13th-edition-by-lawrence/
Another random document with
no related content on Scribd:
The Project Gutenberg eBook of The
recalcitrant
This ebook is for the use of anyone anywhere in the United States
and most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
ebook or online at www.gutenberg.org. If you are not located in the
United States, you will have to check the laws of the country where
you are located before using this eBook.

Title: The recalcitrant

Author: Evelyn Goldstein

Release date: July 31, 2024 [eBook #74162]

Language: English

Original publication: New York, NY: King-Size Publications, Inc, 1954

Credits: Greg Weeks, Mary Meehan and the Online Distributed

Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE

RECALCITRANT ***
 The Recalcitrant

By Evelyn Goldstein

He was proud of his shining

strength and his home in the
bee-loud glade. Why did men
seek only his destruction?

[Transcriber's Note: This etext was produced from

Fantastic Universe September 1954.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]
 We're convinced that only a woman could have
written this story. There is a heartbreaking
quality of suspense to it—of tenderness diffused
through a web of high poetry. The compassion
is wholly womanly, but the breath of a fierce
vitality stirs in it too. Evelyn Goldstein has
captured the tragedy of the not-quite-human
with a deftness extraordinary.

This golden day was pollen-scented, warmed by the mid-summer

sun. Out in the garden the breeze was slight. And a great furred
honeybee circled and dipped, touching the vivid azaleas, drinking the
heart of the iris, and swiftly rising to the purple rhododendron cups.
Dark green ivy twined the porch railing of the trim white cottage.
From behind the curtains of fragile glasseen Jim Simson peered out
at his garden with caution and longing. He could almost feel the
moist rich soil in his fingers, could almost smell the blossoms
through the tight closed windows. In all weathers, on brilliant days
and blue and silver nights, he and Amelia had worked the garden.
Now the hours of planting and tending were done.
He raised haunted eyes to the hills beyond. Between the young
pines on the sweet sloped breasts he could see the pale thread of
road. Momentarily, where a curve brought it into view, the sun
glinted on the metal helicar that moved purposefully toward him.
They'll be here in an hour, he thought. And then they'll take and
destroy what I am. And I'll lose Amelia forever.
That was the thing he could not bear. Worse than torment it
seemed, worse than destruction itself.
In agony he turned. The cool comfort of his house made fantastic
the knowledge within him. There in the corner stood the fine
cherrywood desk he had made. Every bit of the polished dark
furniture, every section had been sanded and grained and carved by
his hands. And all the fabricing—rugs and pillows, delicate covers
and hangings—all Amelia's handiwork.
They two, starting from bare black earth had built this home,
foundations and beams, studs and floorboards, shingles and
shutters, outside and in, their work, their love.
He thrust out his hands, and moved in blind panic to the arch of the
kitchen.
Amelia looked up from the work table. The soft tan of sun was deep
on her cheeks, and her clear green eyes kindled at sight of him.
"I'm up to the last bouquet," she smiled and indicated the straw
basket that was full of neatly tied herbs ready for Jim to take to the
market.
His long-drawn breath was a silent prayer: "Let me never forget the
spice of this room, the morning light on her dark curled hair."
Then he groaned. With a stride he caught her warm curved body to
him. In her hands the last bouquet was crushed between them,
filling his nostrils with fragrance of thyme and mint and coriander
leaves.
At last he held her away, his hands tight on her shoulders, bare and
brown in the brief sundress.
"There are men coming for me," he said. "I've got to run and hide.
They'll search, and wait, but eventually they'll leave. Then I'll come
back. But we'll have to go away from here. We'll have to start again
under other names, somewhere else."
Her anxious eyes searched his face. "Jim, what have you done?"
"Done? Why, I've done nothing," he said.
And that was true. It was not what he had done. It was what he
was.
"I'll go with you, Darling. We'll hide together."
He shook his head. "It's not you they want. I'll have a better chance
alone."
He lifted the basket of herbs. "When they come tell them I've just
gone to the market."
"But where will you go?"
"Out to the hills. I'll come back when they're gone."
He kissed her quickly, and went out knowing she was standing at the
back door threshold, straining to see him till he could no longer be
seen....
There was a swift brook in the woods beyond his cultivated acres.
Into it he scattered the herbs to be dispersed by the dancing water.
The basket he broke in his strong brown hands and sent the pieces
after the flowers. Then he took off his shoes, cuffed his pants to his
knees and waded across the brook to the other side.
Pine nettles and small twigs gave under his stride. He never felt the
pain of angled stones where he trod. He walked a long time, without
stopping, and his breath did not become labored though his path
was always upward.
When he reached the clear crest of the hill he looked down to the
patchwork valley where he lived. He saw his house, a green-topped
miniature fashioned like a jewel in the pastoral setting.
But the flaw in the jewel was the ominous helicar at the gate of the
house.
He sat in the tall grass, pulling his knees up to his chest. He clasped
his hands about his legs, and prepared himself for the long vigil
ahead.
The sky became colored with sunset tints. He saw all the beauty
without lifting his head. Cool breezes of dusk blew upon him. The
sky became darker; the moon increased in brilliance. In the
moonlight the metal car was silvered. During all the hours he had
watched not one figure had emerged from the house. In a waiting
game they were persistent and tireless.
He rose at last, and stretched. He saw his hands before him, taught
and strong, finely formed. On impulse he rubbed his chin, touched
his cheek. How smooth and hard the flesh, how bronzed his
powerful body.
Suddenly he raised himself, stretching as high as he could, feeling
the pull of well coordinated muscles. He smiled almost joyfully. His
was a body to prize.
He whirled and started to run noiselessly, and without hurry over the
tabled clearing. Where the terrain sloped he did not brake his speed,
and momentum carried him faster down among the slim white
birches, and fragrant firs.
He ran like a football player, in and out among the trees, leaping
boulders and small streams, or plunging recklessly into crystal cold
waters.
Where else was there another such as he—to run and run, and
never tire? To dodge and twist, and speed over rough stones with no
pain lancing up through him?
Was it his strength they feared?
"They'll never catch me," he vowed.
Then he went back up the sloping hill to his post at the crest.
The helicar was no longer standing in the road, and the lights of his
house had ceased to shine. Only the moon flushed out shadows of
the trees, and his silent dwelling.
They are gone, he thought.
The easy victory surprised him, and he wanted to sing for the relief
of it. More quickly now than he had run in his prideful ascent of the
slope he turned his steps homeward.
At the back door Amelia was waiting. In the night wind her skirt
fluttered, and tendrils of blue-black hair whipped back.
"Jim," her lips were black moonlight, and her eyes shone with bright
anguish. "Jim. Why did you come back?"
And then, behind her, he saw the armed men in their leather belted
uniforms. Before he could retreat their searchbeams impaled him.
"Stand, Jim Simson!"
All hope of escape was gone.
They came to either side of him, stun weapons levelled, and led him
to the shadows of the house where they had hidden their helicar.
He tried to turn to see Amelia as they forced him to walk between
them to the back seat of the car.
She was lovely, and lonely in the moonlight, a figure lost and
bewildered. How he wished he could go back, and crush her in his
arms again.
Hours later, in the subdued glow of the office of United Medics, he
cried:
"Why can't you let me alone? Why can't you forget about me? I
changed my name. I concealed myself—a farmer among farmers.
Why did you hunt me down?"
To the right of the door stood the two guards who had brought him.
Their faces were impassive, as was the face of the man at the desk,
the man named Dr. Crawsin.
He asked Jim: "Why didn't you answer our letters requesting you to
present yourself for this interview. Why did you make it necessary
for us to use force?"
"Did you really expect me to come here voluntarily—to be
destroyed!"
"Destroy is, I think, an ill-chosen word, Roger—er—" he glanced at
the record open on his desk, "Jim Simson, as you renamed yourself.
We use a different term—reconverted."
Jim's mouth twisted: "And," he added bitterly, "after you've
'reconverted' me, what will become of Amelia, my wife?"
Again the doctor glanced at his record, "Ah, yes, your wife. You've
been married—"
"Twenty years."
"Twenty years," the doctor mused. A flicker of interest came into his
eyes, "And in these years did you ever tell her? Or hint?"
"No!" he rose with a shout. The guards leveled their guns. After a
moment Jim sank back to his seat. "Amelia doesn't know." His voice
was dull. "She thinks I'm just like her. It's better that way."
The doctor's voice softened: "Didn't she ever wonder why you never
had children?"
"Wonder? Of course. At first. But I saw to it that she was kept too
busy to care." Pride came into his tone. "We built our home
ourselves, up from the ground. Made everything in it. Tilled our
acres of land."
His eyes gleamed, and it was almost with spite that he said: "Can
you do that? Can you go without food? Can you go without sleep?
Can you work without tiring? Can you cut yourself and not feel pain?
And heal yourself?"
Triumph made Jim's throat swell. He wanted to reach across and lift
the other in his arms, just to show what strength he had, how
wonderfully powered he was. "Look at me. How old would you say I
was?"
Was there envy in the doctor's eyes? "Twenty-five, I'd say. If I didn't
know you were forty, as the records show."
"And you, Doctor, must be seven or eight years younger. Look at
yourself. Tired lines, gray at the temple—your body a prey to
disease, and to aches. Doesn't it make you jealous that I am what I
am, and you what you are?"
The doctor got up abruptly and motioned to the guards. Jim rose,
protesting frantically as they closed in, and took his arms.
"You are jealous! That's why you want to destroy me. Jealous!
Jealous!"
"Jealous, Jim Simson? Hardly." The doctor smiled pityingly just
before the guards led Jim away. "You see, I have two children."
They stripped him in a small closed room, and prepared him for the
irrevocably final step. They put him on a rolling stretcher, strapping
him down at his chest, legs and arms. The bright narrow ceiling
sailed over him.
They wheeled him into a large amphitheatre with blue-white lights.
White garbed figures swam into view, their faces masked. One bent
over him.
"Hello, Roger MacComb."
He stared into keen blue eyes. "Dr. Tiel!" He recognized the man,
and a great relief surged through him. He lowered his voice
confidentially: "Stop them, Doctor. They want to reconvert me."
"Of course," the doctor said. "Didn't I promise it to you—twenty
years ago? Surely, you haven't forgotten my promise?"
"Forgotten?" Bitterly, he recalled that other time. Then, as now, he
had been strapped to the operating table. But then he had been a
poor shattered thing. Forgotten? He had never forgotten those
frenzied pleas of years back: "Promise the change will only be
temporary. Promise you'll find a way."
"Now," the doctor said: "I'm keeping that promise. We did find the
way."
"Dr. Tiel." Jim's chest heaved, "I've changed my mind. I don't want
reconversion. I want to be me—as I am now—as you made me!"
The masked man stared down at him. "They told me about this." His
voice was almost sad. "They told me you were recalcitrant. I couldn't
believe it."
"But it's true." His voice was only a whisper. "There's Amelia. I love
her. What will happen to her?"
"Your wife? Why, she will be reassigned. There are other tasks—in
our factories—our farms. Her memory of you and of your marriage
will be erased. We aren't barbarians, you know."
"Not barbarians?" His laugh was raw. "Not cruel to force
reconversion on me? And what about my memories? Can you erase
them?"
"No, but you will adjust. You did before." His tone turned ironic. "You
didn't call me cruel when your arms were gone, and your body shot
to pieces. I was your saviour then, your healer. You couldn't thank
me enough, or praise me. You—and all the men like you that I
salvaged out of the Great War."
His eyes blazed at Jim. "Only half a million of you left. Half a million
men out of a world of billions. I took those with minds and hearts
and gave them new bodies. And almost all of them used those new
bodies to work in my Body Parts Bank, helping me experiment and
recreate the real thing. Except the few—like you—who ran to hide
out on farms, in caves of the mountains, even in sailing boats.
"I even manufactured wives for you—moving, talking, mechanical
dolls with memory tapes for minds—just to keep you from loneliness
till the time when I found the way to give back the bodies you had
lost. And now when I give you the chance for the greatest gift—the
chance to bear children, to repopulate our dying world—you hide!
You reject it!"
Dr. Tiel ended on a thunderous note. He glared at Jim. Then made
an angry imperious gesture.
From behind and above someone lowered an anaesthetic cone. Jim
turned and twisted. He fought the straps. But inexorably they
brought the cone down over his face. It muffled him so that his
words came through, muted and broken:
"But I don't want to be human again. Please.... Please.... I don't
want to be human...."
After a while his voice died. His wonderful android body gave a final
twitch of protest. And then was still.
 *** END OF THE PROJECT GUTENBERG EBOOK THE
RECALCITRANT ***

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.