Full Magdalene Poems First Edition Howe Ebook All Chapters

Download as pdf or txt
Download as pdf or txt
You are on page 1of 49

Download the full version of the textbook now at textbookfull.

com

Magdalene poems First Edition Howe

https://textbookfull.com/product/magdalene-poems-
first-edition-howe/

Explore and download more textbook at https://textbookfull.com


Recommended digital products (PDF, EPUB, MOBI) that
you can download immediately if you are interested.

Hammer is the prayer selected poems First Edition Wiman

https://textbookfull.com/product/hammer-is-the-prayer-selected-poems-
first-edition-wiman/

textbookfull.com

The heart is strange new selected poems First Revised


Edition Berryman

https://textbookfull.com/product/the-heart-is-strange-new-selected-
poems-first-revised-edition-berryman/

textbookfull.com

Ghazalnama Poems from Delhi Belfast and Urdu First Edition


Maaz Bin Bilal

https://textbookfull.com/product/ghazalnama-poems-from-delhi-belfast-
and-urdu-first-edition-maaz-bin-bilal/

textbookfull.com

The AI Revolution in Networking Cybersecurity and Emerging


Technologies Omar Santos

https://textbookfull.com/product/the-ai-revolution-in-networking-
cybersecurity-and-emerging-technologies-omar-santos/

textbookfull.com
Geo Architecture and Landscape in China s Geographic and
Historic Context Volume 3 Geo Architecture Blending into
Nature 1st Edition Fang Wang (Auth.)
https://textbookfull.com/product/geo-architecture-and-landscape-in-
china-s-geographic-and-historic-context-volume-3-geo-architecture-
blending-into-nature-1st-edition-fang-wang-auth/
textbookfull.com

Building Bones Bone Formation and Development in


Anthropology Christopher J Percival

https://textbookfull.com/product/building-bones-bone-formation-and-
development-in-anthropology-christopher-j-percival/

textbookfull.com

Phytomedicine-Research and Development 1st Edition


Parimelazhagan Thangaraj (Author)

https://textbookfull.com/product/phytomedicine-research-and-
development-1st-edition-parimelazhagan-thangaraj-author/

textbookfull.com

Expert Twisted: Event-Driven and Asynchronous Programming


with Python 1st Edition Mark Williams

https://textbookfull.com/product/expert-twisted-event-driven-and-
asynchronous-programming-with-python-1st-edition-mark-williams/

textbookfull.com

Stalk divination : a newly discovered alternative to the I


ching 1st Edition Cook

https://textbookfull.com/product/stalk-divination-a-newly-discovered-
alternative-to-the-i-ching-1st-edition-cook/

textbookfull.com
Brahms in Context Composers in Context 1st Edition
Natasha Loges

https://textbookfull.com/product/brahms-in-context-composers-in-
context-1st-edition-natasha-loges/

textbookfull.com
Magdalene
poems

MARIE HOWE

W. W. Norton & Company


Independent Publishers Since 1923
New York | London
Adjusting type size may change line breaks. Landscape mode may help to
preserve line breaks.
CONTENTS

Before the Beginning


Magdalene—The Seven Devils
On Men, Their Bodies

How the Story Started


Thorns
The Affliction

The Split
What I Did Wrong
Magdalene on Romance

Magdalene: The Addict

Magdalene and the Interior Life


The Landing

Magdalene: The Woman Taken in Adultery

Magdalene, the Next Day


The Teacher

The Disciples
Magdalene on Gethsemane

Calvary
Magdalene Afterwards

Low Tide, Late August

The Adoption: When the Girl Arrived

The Girl at 3
Magdalene on Surrender

The Anima Alone

The News
Christmas Eve

Listening

Waiting at the River


The Teacher
Conversation: Dualism

Walking Home

Magdalene: Her Dream of Integration

Fourteen

After the Funeral

Adaptation

The Map
The Visit

Two Animals
October

Delivery
Magdalene at the Grave

What the Silence Says

Magdalene at the Theopoetics Conference

One Day
Adjusting type size may change line breaks. Landscape mode may help to
preserve line breaks.
His disciples said, When will you be visible to us?
and when will we see you?
He said, When you undress and are not ashamed.
—The Gospel According to Thomas
Before the Beginning

Was I ever virgin?

Did someone touch me before I could speak?

Who had me before I knew I was an I?

So that I wanted that touch again and again

without knowing who or why or from whence it came?


Magdalene—The Seven Devils
Mary, called Magdalene, from whom seven devils had been cast out —Luke
8:2

The first was that I was very busy.

The second—I was different from you: whatever happened to you


could

not happen to me, not like that.

The third—I worried.

The fourth—envy, disguised as compassion.

The fifth was that I refused to consider the quality of life of the
aphid,

The aphid disgusted me. But I couldn’t stop thinking about it.

The mosquito too—its face. And the ant—its bifurcated body.


Visit https://textbookfull.com
now to explore a rich
collection of eBooks, textbook
and enjoy exciting offers!
Ok the first was that I was so busy.

The second that I might make the wrong choice,

because I had decided to take that plane that day,

that flight, before noon, so as to arrive early

and, I shouldn’t have wanted that.

The third was that if I walked past the certain place on the street

the house would blow up.

The fourth was that I was made of guts and blood with a thin layer

of skin lightly thrown over the whole thing.

The fifth was that the dead seemed more alive to me than the living.
The sixth—if I touched my right arm I had to touch my left arm, and
if I

touched the left arm a little harder than I’d first touched the right
then I had

to retouch the left and then touch the right again so it would be
even.

The seventh—I knew I was breathing the expelled breath of


everything that

was alive, and I couldn’t stand it.

I wanted a sieve, a mask, a—I hate this word—a cheesecloth—

to breathe through that would trap it—whatever was inside everyone


else that

entered me when I breathed in.

No. That was the first one.

The second was that I was so busy. I had no time. How had this
happened?

How had our lives gotten like this?


The third was that I couldn’t eat food if I really saw it—distinct,
separate

from me in a bowl or on a plate.

Ok. The first was that. I could never get to the end of the list.

The second was that the launsdry was never finally done.

The third was that no one knew me, although they thought they did.

And that if people thought of me as little as I thought of them then

what was love?

The fourth was I didn’t belong to anyone. I wouldn’t allow myself to


belong

to anyone.

The fifth was that I knew none of us could ever know what we didn’t
know.

The sixth was that I projected onto others what I myself was feeling.
The seventh was the way my mother looked when she was dying,

the sound she made—her mouth wrenched to the right and cupped
open

so as to take in as much air . . . the gurgling sound, so loud

we had to speak louder to hear each other over it.

And that I couldn’t stop hearing it—

years later—grocery shopping, crossing the street—

No, not the sound—it was her body’s hunger

finally evident—what our mother had hidden all her life.

For months I dreamt of knucklebones and roots,

the slabs of sidewalk pushed up like crooked teeth by what grew


underneath.

The underneath. That was the first devil. It was always with me.

And that I didn’t think you—if I told you—would understand any of


this—
Looking down at him my tears fell onto his chest

and he looked back at me with such pity

raising his hand to wipe my cheek

before he wrapped his arms around me and pulled me

down to the bed so he could press inside me deeper


On Men, Their Bodies

One penis was very large and thick so when he put it inside me I

really did say, Wow. One penis was uncircumcised, and I loved to

grip the shaft and pull down so the head popped out like a little

man. One penis was curved so I had to move in a different way. One

penis was so friendly I was never afraid of it. One penis was so

slender I was startled. One penis was blunt and short like a little pig.

One penis couldn’t harden until he stuffed it soft inside me. One

penis came as soon as I started to move. I’m so sorry, he said I

have a problem, but I didn’t care. I loved that boy. One penis

pressed against me hard almost every morning, but I got out of bed

as if I hadn’t heard a word it had said. One penis was so dear to me

I kissed it and kissed it even after I knew it had been with someone

else. One penis I never saw, but my hand came to know it from the
outside of his jeans. One penis loved the inside of my mouth so

much it sang, it sputtered. One had a name. One was a mouse. One,

he explained to me, had very very tiny crabs, so we couldn’t have

sex for a while. One was Orthodox and wouldn’t touch blood. One

had a mole, a hard little dot just under the rim. One penis was

extremely patient without making a big deal about it. One penis had

a great sense of humor. One penis had herpes but I didn’t know that

word yet. One was a battering ram. One was a drunk staggering, a

lout, a bully. One slept inside me, comfortably at home.


How the Story Started

I was driven toward desire by desire.

believing that the fulfillment of that desire was an end.

There was no end.

Others might have looked into the future and seen

a shape inside the coming years—

a house, a child, a man who might be a help.

I saw his back bent over what he was working on,

the back of his neck, how he stood in his sneakers,

and wanted to eat him.


How could I see another person, I mean who he was—apart from
me—

apart from that?


Thorns

I pressed them through my hair into my head

pressed them into my waistband and

later into my palms,

a secret intimacy among those thorns and me

a love

(from whom or to whom it mattered less than

that it was) and that

it was

was the evidence of love:

and so a comfort in the small

pain they brought.


Visit https://textbookfull.com
now to explore a rich
collection of eBooks, textbook
and enjoy exciting offers!
The Affliction

When I walked across a room I saw myself walking

as if I were someone else,

when I picked up a fork, when I pulled off a dress,

as if I were in a movie.

It’s what I thought you saw when you looked at


me.

So when I looked at you, I didn’t see you

I saw the me I thought you saw, as if I were someone else.

I called that outside—watching. Well I didn’t call it anything

when it happened all the time.


But one morning after I stopped the pills—standing in the kitchen

for one second I was inside looking out.

Then I popped back outside. And saw myself looking.

Would it happen again? It did, a few days later.

My friend Wendy was pulling on her winter coat, standing by the


kitchen door

and suddenly I was inside and I saw her.

I looked out from my own eyes

and I saw: her eyes: blue gray transparent

and inside them: Wendy herself!

Then I was outside again,

and Wendy was saying, Bye-bye, see you soon,

as if Nothing Had Happened.


She hadn’t noticed. She hadn’t known that I’d Been There

for Maybe 40 Seconds,

and that then I was Gone.

She hadn’t noticed that I Hadn’t Been There for Months,

years, the entire time she’d known me.

I needn’t have been embarrassed to have been there for those


seconds;

she had not Noticed The Difference.

This happened on and off for weeks,

and then I was looking at my old friend John:

: suddenly I was in: and I saw him,

and he: (and this was almost unbearable)

he saw me see him,


and I saw him see me.

He said something like, You’re going to be ok now,

or, It’s been difficult hasn’t it,

but what he said mattered only a little.

We met—in our mutual gaze—in between

a third place I’d not yet been.


The Split

Then a voice inside my head

began to speak, and it said, You are doing this now,

Now you’re doing that: company I couldn’t speak of.

What would the voice say if I spoke?

My father, swaying in the doorway, said, I’ll break you.

Who would I be if I broke?

No you won’t, I said,

and the voice cleared its throat.


Random documents with unrelated
content Scribd suggests to you:
Pain, pain continual; pain unending;
Hard even to the roughest, but to those
Hungry for beauty.... Not the wisest knows,
Nor most pitiful-hearted, what the wending
Of one hour’s way meant. Grey monotony lending
Weight to the grey skies, grey mud where goes
An army of grey bedrenched scarecrows in rows
Careless at last of cruellest Fate-sending.
Seeing the pitiful eyes of men foredone,
Or horses shot, too tired merely to stir,
Dying in shell-holes both, slain by the mud.
Men broken, shrieking even to hear a gun.—
Till pain grinds down, or lethargy numbs her,
The amazed heart cries angrily out on God.

3. SERVITUDE

If it were not for England, who would bear


This heavy servitude one moment more?
To keep a brothel, sweep and wash the floor
Of filthiest hovels were noble to compare
With this brass-cleaning life. Now here, now there
Harried in foolishness, scanned curiously o’er
By fools made brazen by conceit, and store
Of antique witticisms thin and bare.

Only the love of comrades sweetens all,


Whose laughing spirit will not be outdone.
As night-watching men wait for the sun
To hearten them, so wait I on such boys
As neither brass nor Hell-fire may appal,
Nor guns, nor sergeant-major’s bluster and noise.
4. HOME-SICKNESS

When we go wandering the wide air’s blue spaces,


Bare, unhappy, exiled souls of men;
How will our thoughts over and over again
Return to Earth’s familiar lovely places,
Where light with shadow ever interlaces—
No blanks of blue, nor ways beyond man’s ken—
Where birds are, and flowers, as violet, and wren,
Blackbird, bluebell, hedge-sparrow, tiny daisies.

O tiny things, but very stuff of soul


To us ... so frail.... Remember what we are;
Set us not on some strange outlandish star,
But one caring for Love. Give us a Home.
There we may wait while the long ages roll
Content, unfrightened by vast Time-to-come.

5. ENGLAND THE MOTHER


We have done our utmost, England, terrible
And dear taskmistress, darling Mother and stern.
The unnoticed nations praise us, but we turn
Firstly, only to thee—“Have we done well?
Say, are you pleased?”—and watch your eyes that tell
To us all secrets, eyes sea-deep that burn
With love so long denied; with tears discern
The scars and haggard look of all that hell.

Thy love, thy love shall cherish, make us whole,


Whereto the power of Death’s destruction is weak.
Death impotent, by boys bemocked at, who
Will leave unblotted in the soldier-soul
Gold of the daffodil, the sunset streak,
The innocence and joy of England’s blue.

THE END

PRINTED BY
HAZELL, WATSON AND VINEY, LD.,
LONDON AND AYLESBURY.

From Sidgwick & Jackson’s List of Poetry


ASQUITH, HERBERT. The Volunteer and other Poems. Second
Edition, with new Poems added. 2s. net.
BROOKE, RUPERT. Poems. (First issued 1911.) Nineteenth
Impression. 2s. 6d. net.
—— 1914 and other Poems. With a Portrait. Twenty-first Impression.
2s. 6d. net.
—— Selected Poems. With a new Portrait. Second Impression. Cloth,
3s. 6d. net; lambskin, 5s. net.
DRINKWATER, JOHN. Swords and Ploughshares. Second
Impression. 2s. 6d. net.
—— Olton Pools. Second Impression. 2s. 6d. net.
—— Pawns; Three Poetic Plays. 2s. 6d. net.
—— Poems, 1908-1914. 5s. net.
ENSOR, R. C. K. Odes and other Poems. 2s. net.
GARSTIN, CROSBIE. Vagabond Verses. Cloth, 2s. 6d. net.
GRAVES, C. L. War’s Surprises, and other Verses. Cloth, 3s. 6d. net.
[Second Impression.
HARVEY, F. W. A Gloucestershire Lad. Fourth Impression. Cloth, 2s.
net; paper 1s. 6d. net.
—— Gloucestershire Friends. Poems from a German Prison Camp. 2s.
6d. net.
JENKINS, ELINOR. Poems. 2s. 6d. net.
MACAULAY, ROSE. The Two Blind Countries. Cloth, 2s. 6d. net.
NIVEN, FREDERICK. Maple-leaf Songs. Wrappers. 1s. net.
OWEN, EVERARD. Three Hills and other Poems. Second
Impression. Wrappers, 6d. net.
SHAKESPEARE, W. G. Ypres and other Poems. Boards, 2s. net.
SHANKS, EDWARD. Poems. 2s. 6d. net.
“SOME VERSE.” By F. S. Third Impression. Boards, 2s. net.
SONGS OF THE “BLUE DRAGON.” Cloth, 1s. 6d. net; wrappers, 1s.
net.
TURNER, W. J. The Hunter and other Poems. Cloth, 2s. 6d. net.
TYNAN, KATHARINE. Flower of Youth. Second Impression. 3s. 6d.
net.
—— The Holy War. 3s. 6d. net.
—— Late Songs. 3s. 6d. net.
YORKSHIRE DIALECT POEMS (1673-1915). Compiled with an
Introduction by Prof. F. W. Moorman. Second Edition. Cloth, 2s. net;
paper, 1s. net.
An anthology of the best poems in “broad Yorkshire.”
Complete List of Poetry and other Catalogues on application.

SIDGWICK & JACKSON, Ltd., 3 Adam Street, Adelphi, London, W.C.2


*** END OF THE PROJECT GUTENBERG EBOOK SEVERN & SOMME
***

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.

You might also like