The Project Gutenberg eBook of Trees Are Where You Find Them
    
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: Trees Are Where You Find Them


Author: Arthur Dekker Savage

Illustrator: Philip B. Parsons

Release date: September 17, 2009 [eBook #30010]

Language: English



*** START OF THE PROJECT GUTENBERG EBOOK TREES ARE WHERE YOU FIND THEM ***



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









[Illustration]


    _The trees on Mars are few and stunted, says old Doc Yoris. There's
    plenty of gold, of course--but trees can be much more important!_


 TREES
 _are where
 you find
 them_

By Arthur Dekker Savage

Illustrated by Philip Parsons


You might say the trouble started at the Ivy, which is a moving picture
house in Cave Junction built like a big quonset. It's the only show in
these parts, and most of us old-timers up here in the timber country of
southwest Oregon have got into the habit of going to see a picture on
Saturday nights before we head for a tavern.

But I don't think old Doc Yoris, who was there with Lew and Rusty and
me, had been to more than two or three shows in his life. Doc is kind of
sensitive about his appearance on account of his small eyes and big nose
and ears; and since gold mining gave way to logging and lumber mills,
with Outsiders drifting into the country, Doc has taken to staying on
his homestead away back up along Deer Creek, near the boundary of the
Siskiyou National Forest. It's gotten so he'll come to Cave Junction
only after dark, and even then he wears dark glasses so strangers won't
notice him too much.

I couldn't see anything funny about the picture when Doc started
laughing, but I figure it's a man's own business when he wants to laugh,
so I didn't say anything. The show was one of these scientific things,
and when Doc began to cackle it was showing some men getting out of a
rocket ship on Mars and running over to look at some trees.

Rusty, who's top choker setter in our logging outfit, was trying to see
Doc's point. He can snare logs with a hunk of steel cable faster than
anyone I know, but he's never had much schooling. He turned to Doc. "I
don't get it, Doc," he said. "What's the deal?"

Doc kept chuckling. "It's them trees," he said. "There's no trees like
that on Mars."

"Oh," said Rusty.

I suppose it was just chance that Burt Holden was sitting behind us and
heard the talk. Burt is one of the newcomers. He'd come down from Grants
Pass and started a big lumber mill and logging outfit, and was trying to
freeze out the little operators.

He growled something about keeping quiet. That got Rusty and Lew kind of
mad, and Lew turned around and looked at Burt. Lew is even bigger than
Burt, and things might have got interesting, but I wanted to see the
rest of the picture. I nudged him and asked him if he had a chew. They
won't let you smoke in the show, but it's okay to chew, and most of us
were in the habit anyway, because there's too much danger of forest fire
when you smoke on the job.

Doc laughed every time the screen showed trees, and I could hear Burt
humping around in his seat like he was irritated.

       *       *       *       *       *

At the end of the show we drifted over to the Owl Tavern and took a
table against the north wall, behind the pool tables and across from the
bar. Doc had put his dark glasses back on, and he sat facing the wall.

Not that many people apart from the Insiders knew Doc. He hadn't been
very active since the young medical doctor had come to Cave Junction in
1948, although he never turned down anyone who came for help, and as far
as I knew he'd never lost a patient unless he was already dead when Doc
got there.

We were kidding Lew because he was still wearing his tin hat and caulked
boots from work. "You figuring on starting early in the morning?" I
asked him. Rusty and Doc laughed. It was a good joke because we rode out
to the job in my jeep, and so we'd naturally get there at the same time.

Then Rusty sat up straighter and looked over at the bar. "Hey," he said,
"Pop's talking to Burt Holden." Pop Johnson owns our outfit. He's one of
the small operators that guys like Burt are trying to squeeze out.

"Hope he don't try to rook Pop into no deals," said Lew.

Doc tipped up his bottle of beer. In Oregon they don't sell anything but
beer in the taverns. "Times change," he said. "Back in 1900 all they
wanted was gold. Now they're trying to take all the trees."

"It's the big operators like Burt," I said. "Little guys like Pop can't
cut 'em as fast as they grow. The companies don't have to reseed,
either, except on National Forest land."

"That Burt Holden was up to my place couple weeks ago," said Doc. "Darn
near caught me skinning out a deer."

"He better not yap to the game warden," said Rusty. "Them laws is for
sports and Outsiders, not us guys who need the meat."

"He wanted to buy all my timber," said Doc. "Offered me ten dollars a
thousand board feet, on the stump."

"Don't sell," I advised him. "If Burt offers that much, almost anyone
else will pay twelve."

Doc looked at me. "I'd never sell my trees. Not at any price. I got a
hundred and sixty acres of virgin stand, and that's the way it's gonna
stay. I cut up the windfalls and snags for firewood, and that's all."

"Here comes Pop," said Lew.

Pop sat down with us and had a beer. He looked worried. We didn't ask
him any questions, because we figure a man will talk if he wants to, and
if he doesn't it's his own business.

He finally unlimbered. "Burt Holden wants to buy the mill," he said,
wiping his mouth on the back of his hand.

"Buy _your_ mill?" said Lew. "Hell, his mill is five times as big, and
he's even got a burner to take care of slashings, so he don't have to
shut down in the fire season."

"He just wants the land," said Pop, "because it's near the highway. He
wants to tear down my setup and build a pulp mill."

"A _pulp_ mill!" If we could have seen Doc's eyes through the glasses I
imagine they'd have been popped open a full half inch. "Why, then
they'll be cutting down everything but the brush!"

Pop nodded. "Yeah. Size of a log don't matter when you make paper--just
so it's wood."

It seemed as though Doc was talking to himself. "They'll strip the land
down bare," he mumbled. "And the hills will wash away, and the chemicals
they use in the mill will kill the fish in the creeks and the Illinois
River."

"That's why they won't let anyone start a pulp mill near Grants Pass,"
said Pop. "Most of the town's money comes from sports who come up to the
Rogue River to fish."

Rusty set his jaw. "In the winter we _need_ them fish," he said. He was
right, too. The woods close down in the winter, on account of the snow,
and if a man can't hunt and fish he's liable to get kind of hungry. That
rocking chair money doesn't stretch very far.

"I ain't gonna sell," said Pop. "But that won't stop Burt Holden, and
any place he builds the mill around here will drain into the Illinois."

Doc pushed back his chair and stood up to his full height of five foot
four. "I'm gonna talk to Burt Holden," he said.

Rusty stood up to his six foot three. "I'll bring him over here, Doc,"
he said. "We're handy to the cue rack here, and Lew and Simmons can keep
them guys he's with off my back."

I stood up and shoved Rusty back down. I'm no taller than he is, but I
outweigh him about twenty pounds. I started working in the woods when we
still felled trees with axes and misery whips--crosscut saws to the
Outsiders. "I'll go get him," I said. "You're still mad about the show,
and you wouldn't be able to get him this far without mussing him up."

"There won't be no trouble," said Doc. "I just want to make him an
offer."

       *       *       *       *       *

I went over and told Burt that Doc wanted to talk to him. The three guys
with him followed us back to the table.

Burt figured he knew what it was all about, and he just stood over Doc
and looked down on him. "If it's about your timber, Yoris," he said,
"I'll take it, but I can't pay you more than nine dollars now. Lumber's
coming down, and I'm taking a chance even at that." He rocked back and
forth on his heels and looked at Pop as though daring him to say
different.

"I still don't want to sell, Mr. Holden," said Doc. "But I've got better
than three million feet on my place, and I'll _give_ it to you if you
won't put a pulp mill anywhere in the Illinois Valley."

We were all floored at that, but Burt recovered first. He gave a nasty
laugh. "Not interested, Yoris. If you want to sell, look me up."

"Wait!" said Doc. "A pulp mill will take every tree in the Valley. In a
few years--"

"It'll make money, too," said Burt flatly.

"Money ain't everything by a long shot. It won't buy trees and creeks
and rain."

"It'll buy trees to make lumber." Burt was getting mad. "I don't want
any opposition from you, Yoris. I've had enough trouble from people who
try to hold back progress. If you don't like the way we run things here,
you can--hell, you can go back to Mars!"

It seemed to me that it was just about time to start in. I could have
taken Burt easiest, but I knew Rusty would probably swing on him first
and get in my way, so I planned to work on the two guys on Burt's right,
leaving the one on his left for Lew. I didn't want Pop to get tangled up
in it.

I don't generally wait too long after I make up my mind, but then I
noticed Rusty reaching out slowly for a cue stick, and I thought maybe
I'd better take Burt first, while Rusty got set. I never did see a guy
so one way about having something in his hands.

But Doc didn't drop out. "There ain't nothing but a few scrub trees on
Mars," he said to Burt, looking him square in the eye. "And no creeks
and no rain."

Burt curled his lip sarcastically. "The hell you say! Is that why you
didn't like it there?" You could see he was just trying to egg Doc into
saying he'd come from Mars, so he could give him the horse laugh. The
guys he was with were getting set for a fracas, but they were waiting
for Burt to lead off.

Doc didn't get caught. "But there's gold," he said, like he hadn't heard
Burt at all. "Tons of it--laying all over the ground."

I guess Burt decided to ride along. "Okay, Yoris," he said. "Tell you
what I'll do. For only one ton of Martian gold I'll agree to drop all
plans for a pulp mill, here or anywhere else. In fact, I'll get out of
business altogether."

Doc moved in like a log falling out of the loading tongs. "That's a
deal," he said. "You ready to go?"

Burt started to look disgusted, then he smiled. "Sure. Mars must be
quite a place if you came from there."

"Okay," said Doc. "You just stand up against the wall, Mr. Holden."
Burt's smile faded. He figured Doc was trying to maneuver him into a
likely position for us. But Doc cleared that up quick. "You boys get up
and stand aside," he ordered. "Get back a ways and give Mr. Holden
plenty of room." We didn't like it, but we cleared out from around the
table. A bunch from the bar and pool tables, sensing something was up,
came drifting over to watch. I could feel tension building up. "Now,"
said Doc, pointing, "you just stand right over there, Mr. Holden, and
fold your arms."

Burt didn't like the audience, and I guess he figured his plans were
backfiring when Doc didn't bluff. "You hill-happy old coot," he
snarled. "You'd better go home and sleep it off!" I grabbed hold of
Lew's arm and shook my head at Rusty. I wasn't going to interfere with
Doc now.

"You're not scared, are you, Mr. Holden?" said Doc quietly. "Just you
stand against the wall and take it easy. It won't hurt a bit."

       *       *       *       *       *

Burt Holden was plenty tough for an Outsider, and a hard-headed
businessman to boot, but he'd never run into a customer like Doc before.
You could see him trying to make up his mind on how to handle this
thing. He glanced around quick at the crowd, and I could tell he decided
to play it out to where Doc would have to draw in his horns. He actually
grinned, for the effect it would have on everybody watching. "All right,
Yoris," he said. He backed against the wall and folded his arms. "But
hadn't you better stand up here with me?"

"I ain't going," said Doc. "I don't like Mars. But you won't have no
trouble getting your gold. There's nuggets the size of your fist laying
all over the dry river beds."

"I hate to be nosey," said Burt, playing to the crowd, "but how are you
going to get me there?"

"With his head, o'course!" blurted Rusty before I could stop him. "Just
like he cures you when you're sick!" Doc had pulled Rusty through two or
three bad kid sicknesses--and a lot of the rest of us, too.

"Yep," said Doc. "A man don't need one of them rocket things to get
between here and Mars. Fact is, I never seen one."

Burt looked at the ceiling like he was a martyr, then back at Doc.
"Well, Yoris," he said in a tone that meant he was just about through
humoring him, "I'm waiting. Can you send me there or can't you?" The
start of a nasty smile was beginning to show at the corners of his
mouth.

"Sure," said Doc. He slumped down in his chair and cupped his hands
lightly around his dark glasses. I noticed his fingers trembling a
little against his forehead.

The lights dimmed, flickered and went out, and we waited for the
bartender to put in a new fuse. The power around here doesn't go haywire
except in the winter, when trees fall across the lines. A small fight
started over in a corner.

When the lights came back on, Doc and Pop started for the door, and Lew
and Rusty and I followed. Burt's buddies were looking kind of puzzled,
and a few old-timers were moving over to watch the fight. The rest were
heading back to the bar.

Rusty piled into the jeep with Doc and me. "When you going to bring him
back, Doc?" he asked when we started moving.

"Dunno," said Doc. He took off his glasses to watch me shift gears. He's
been after me for a long time to teach him how to drive. "It only works
on a man once."


THE END




Transcriber's Note:

    This etext was produced from _If Worlds of Science Fiction_ November
    1953. Extensive research did not uncover any evidence that the U.S.
    copyright on this publication was renewed. Minor spelling and
    typographical errors have been corrected without note.






        
            *** END OF THE PROJECT GUTENBERG EBOOK TREES ARE WHERE YOU FIND THEM ***
        

    

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.