The Project Gutenberg eBook of Planet of Dreams 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: Planet of Dreams Author: James McKimmey Illustrator: Paul Orban Release date: September 20, 2009 [eBook #30045] Most recently updated: January 5, 2021 Language: English Credits: Produced by Greg Weeks, Stephen Blundell and the Online Distributed Proofreading Team at https://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK PLANET OF DREAMS *** Produced by Greg Weeks, Stephen Blundell and the Online Distributed Proofreading Team at https://www.pgdp.net [Illustration] _The climate was perfect, the sky was always blue, and--best of all--nobody had to work. What more could anyone want?_ Planet of Dreams By James McKimmey, Jr. Illustrated by Paul Orban It was a small world, a tiny spinning globe, placed in the universe to weather and age by itself until the end of things. But because its air was good and its earth was fertile, Daniel Loveral had placed a finger upon a map and said, "This is the planet. This is the Dream Planet." That was two years before, back on Earth. And now Loveral with his selected flock had shot through space, to light like chuckling geese upon the planet, to feel the effect of their dreams come true. Loveral was sitting in his office, drumming his long fingers against his desk while the name, Atkinson, ticked through his brain like the sound of a sewing machine. Would he be the only one, Loveral asked himself, or was he just the first? In either case, it was up to Loveral, as leader and guiding hand, to stop this thing and stop it quickly. Loveral stood up and put on his jacket, although there was no need for it, other than the formality it gave his figure. He stepped out of his office into a clear bright day, where the air was clean and fresh in his lungs, at once like frost and fire and sweet perfume. He walked along a winding path, which was bordered by slim-necked flowers and a short hedge whose even clipped lines were kept neat by tireless robot hands. Trees pointed to a blue sky, rocking and fluttering their leaves in a soft breeze, and glinting metallic houses lay peacefully beyond in wooded hollows and upon slight hills. A whole small world was before his eyes, set there upon his direction, maintained by himself with the help of a dozen complex machines which lay locked and sealed in the Maintenance Room for only his fingers to touch. It was a busy life for Loveral, up at dawn to work until deep night, keeping his flock happy and free from spirit-killing labor. But it was a perfect plan, one which had been tested and turned in his mind for years. If he had to work hard to keep it running smoothly, that was all right. In fact, he had never been happier. Now, however, there was this business about Atkinson. Loveral was disturbed about that. He walked on, over the quiet path which would lead to the house where Atkinson and his wife lived. Loveral smiled, in readiness for any happy face that might appear before him, to greet him, to show with thankful eyes appreciation for his wonderful world. But that, too, brought thoughts that were a bit disturbing. Lately there had been few such faces. Most of his flock no longer seemed to care about walking along the cultivated paths, or smiling, or nodding, or touching a leaf here or a flower there. They preferred, it appeared, to remain deep inside their houses, as though they might have become tired of the soft perfection of Dream Planet. As though they might have become weary of quiet woods and sweet bird-music or a sky which was always blue. Loveral shook his head as he walked, puzzling out his thoughts. It was strange, but nothing to worry about certainly. Just this business about Atkinson. That was his only worry. He came slowly up a hill, the top of which held a low curving house, with a silver roof and wide, sweeping windows. There were yellow and blue and deep red flowers, skirting the sides of the house, and green ivy grew thickly between the glistening windows. The lawn, dotted with small leafy trees and round bushes, sloped down from the front of the house, looking like a carefully arranged painting. Loveral pressed a button beside a shining door and waited, smiling through his pale blue kindly eyes. * * * * * Mrs. Atkinson appeared after several moments and stood blinking at him. She was a thin woman, who seemed to have gotten even thinner, Loveral noticed. She was working her fingers at the neck of her dress. She smiled but her lips wavered. "My dear," Loveral greeted her in his soft voice, showing the goodness in his eyes. She nodded her recognition, opening her mouth without speaking. "May I?" said Loveral finally, waving his long fingers toward the living room. "Oh, yes," said the woman. "Of course, Mr. Loveral." And as she spoke Loveral had the impression she might suddenly begin crying. Loveral followed the woman into the house, noticing all over again the precise way everything had been arranged. The rug was soft beneath his feet, and the light came in through the windows in such a way that it, too, became soft. The furniture, molded to hold a human body most comfortably, rested about the room in perfect efficiency. "Your place is so lovely," Loveral said, out of his old habit from Earth. But his words seemed to ring strangely in the quiet, because it was his own arrangement, like all the other rooms on the planet. And Mrs. Atkinson, standing thin and nervous before him, had nothing, after all, to do with it. The cleanliness was the work of his robot machines, the planning his own. It was like complimenting himself. He cleared his throat and stood, smiling his most benevolent smile to reassure Mrs. Atkinson. "Ah, my dear. Is George about?" Again, the woman's hand skittered to her throat. "He's not ill, surely?" Loveral asked, although this, too, was silly, because foods, selected and prepared for utmost nutrition, packed and frozen to be doled out in weekly quantities, purified air, disease-killing serums, simply written folders on exercise, and of course Loveral's own philosophies of quiet, peaceful living--all of this guarded well the health of Dream Planet's flock. The woman shook her head. "No, George is fine. He's just--sleeping, I think." "Rest is nature's finest tonic," said Loveral, and hearing his voice thought suddenly there was hardly anything he could say any more that might not sound a bit out of place in this peaceful world. Rest to the man who had nothing to do ceased to be a tonic. "Yes, yes," said Loveral. "May we just sit down, my dear?" Mrs. Atkinson jerked a hand toward one of the chairs and then wound her fingers. Loveral sat down and leaned back, smiling his most charming smile. "Perhaps George might awaken after a bit?" "Oh, yes," the woman said, her eyes flickering, and she sat upon the edge of one chair, like a bird perched upon a thin wire. Loveral waited, legs crossed, leaning his head back against the silken softness of the chair. It was so good to relax these days. The business of watching and of caring for his flock was trying. When you have brought an entire community of people at great expense through space, guaranteeing to give them a life of constant comfort and ease, so that they might dream and think as they wander through the flowers and the leaves, their thoughts cleansed of worry about work and responsibility, then you have a job. Loveral was most busy, busier than his heritage of wealth ever before had allowed, seeing to all of this. But he also was most content--with everything except Atkinson. Mrs. Atkinson teetered on the edge of her chair, as though she might at any moment go flying across the room in a crazy gyration. There was something about her eyes, Loveral noticed, while he peacefully nodded in the chair. Fear, perhaps. If so, he probably had been right. He tightened himself, listening. There it was again. The sound. Just as he had heard it a day before when he had passed near the house. He leaned forward quickly. Mrs. Atkinson jumped. Loveral smiled. "Didn't I hear a noise of some sort, my dear?" "Noise?" the woman said, as though her own voice were the sound of an echo. "An odd noise," Loveral said, his eyes searching. The woman's hands fluttered about her dress. Loveral stood up. "Would you mind if I just glanced about, my dear?" The woman didn't answer, but Loveral was already moving across the room toward a door. He opened it and walked down a hall. The noise grew stronger. He threw open another door. * * * * * He stood watching while George Atkinson spun around, dark eyes flashing, hair tousled. There was a two days' growth of beard darkening Atkinson's face. "Why, George," Loveral said, swiftly examining the litter of metal and wood which was spread over a table behind Atkinson. There was a home-made hammer in Atkinson's hand. "What have we here, George?" "Something for you," Atkinson said, tightening his fingers about the handle of the hammer. Loveral grinned his famous Loveral grin. "That's fine. What could it be?" "None of your damned business." "_George_," Loveral said, his smile still white but his eyes narrow and quick. The woman was behind them. Her voice screeched. "George, I told you. Why didn't you listen, George? You should have listened to me. You--" Loveral held up a hand, still watching Atkinson. "Now tell me, George, what is it you're making for me?" Atkinson raised the hammer slightly. Loveral stood very still. "That's a nice hammer, George." Atkinson's eyes were black beneath his thick brows. "You made that, didn't you?" Loveral asked. "Yes, I made that," Atkinson said. "I made that and I made something else. Another minute and I'll have that finished, too." "George," said Loveral, stepping quietly forward, "I don't like to say this, of course. You've been one of our very best members. But nobody works here, George. We can't allow that. You know the rules." "I know the rules, all right." "Well, then," Loveral said, extending his hand toward the hammer, "we'll just destroy this and whatever else you might have been making. We'll just forget it ever happened. We'll get along real fine that way, George. We'll just be such good friends." "We'll just go to hell," said Atkinson, snatching his hammer away. Loveral's smile disappeared. "I'll tell you, George. I have to mean business with this. You know the reasons. If we allow anybody to work here, then there's going to be trouble. That isn't our plan. We're here to grow within ourselves and expand culturally. Not to commercialize a beautiful world like Dream Planet." Atkinson stood unmoving, and Loveral could see the way the man's muscles were tight, like steel springs, and the way his eyes burned deep inside their blackness. "We've given you everything you need," Loveral explained, trying to adjust the smile on his lips again. "Everybody has everything they want. But, you see, if you sit there and work and make something that someone else doesn't have, then the whole system is destroyed. Then someone will want what you've made. We'll have jealousy and hatred and fighting. This is the stuff of which wars are made, George. You know that. It starts with small things like this, but it grows. When it does, the structure of our life here will collapse. You wouldn't want that, would you, George?" "Yes!" Atkinson said, his mouth white at the edges. "I'd like to see the whole rotten thing collapsed and blown to hell!" Loveral's teeth snapped together and his lips grew tight. He could feel a muscle jumping along his neck. Atkinson looked at him with furious eyes. "What do you think it's like, living this way? You're busy working twenty-four hours a day, while we wander around this damned prison like the breathing dead. You can feel sweat and aches in your bones from a hard day's work. Sleep is like medicine to you, instead of another stretch of torture. You can forget your own brain for a while by doing something with your hands. You can relax because you can get tired. Not us, by God. Not us!" "I envy you, George," Loveral said through his teeth. "Oh, like hell you do. You treat us like we were helpless infants. You feed and clothe us and do all our work, and you're so happy you damned near split your guts." "I'll take that, if you don't mind," Loveral said, reaching for the hammer, his voice suddenly icy cold. Atkinson slammed back against the table. "No, you won't. You won't take anything more at all. You've taken our spirit and our pride and the strength right out of our spines. You won't take anything more!" "George?" Loveral said, but not moving any further. Atkinson slid the hammer back of him onto the table, and his hands were searching among a dozen scattered pieces of metal and wood. He watched Loveral as he worked. "Let me show you what else I've made," he said. "I'd hate to do it," Loveral said, "but I can stop your food, your water, everything." Atkinson's hands moved swiftly, assembling the pieces. He nodded. "You can, but you won't." "I have the only keys to the storage units. I control everything, George." "Correction," said Atkinson, holding an assembled revolver in his hands. "You _did_." * * * * * Loveral looked at what Atkinson had in his hands. He blinked. "You're nearly dead," Atkinson said. Loveral looked at Atkinson, into his eyes. "If you wanted to kill me, you could have done it some other way." Atkinson shook his head. "Just this way. Just with something that took me dozens of days and nights to make. With something that made me sweat and swear to get. It was difficult--with no tools or proper materials--but that made it all the better. Now I've got it finished," he said, pushing a bullet into the chamber, "and ready to use." Loveral stood frozen, then he turned. "My dear," he said to the woman who moved her mouth as though her voice had been pumped out of her. He reached to touch her shoulder. She recoiled, as though his fingers held poison. "George," he said, turning back to the black-eyed man. "This is a great moment," Atkinson said, lifting the muzzle of the revolver. "When I squeeze the trigger, it'll be like blowing the lock off a prison door. I'll go yelling to the others, and we'll smash down the whole goddamned place. We'll smash it down, so we'll have to rebuild it. We'll pull apart every robot you've got. We'll tear apart the food lockers and have a celebration for a week, and when we've gotten sick from too much food, we'll start growing some more with our own hands. We'll make forges for the men and looms for the women. We'll burn our clothes and make new ones. We'll grow corn in the fields. We'll pump water from the ground. You're finished, Loveral." Loveral stared at the revolver. "George," he said, pleading. "The plans. The beautiful, beautiful plans. All of you, you all wanted peace and contentment. Time to think and dream. You all wanted to get away from the work and the worry and the responsibility. You--" Atkinson fired the gun into Loveral's stomach. Loveral gestured at the air and fell to his knees. Atkinson threw his gun through a window and grabbed his wife by the hand. "Hurry!" he said, laughing. "Hurry!" Loveral felt of the blood on his shirt and rested on his knees. He could hear footsteps, racing through the house and out to the yard. He held out his bloody hand and looked at it. Atkinson's voice pealed through the warm clear air. "He's dead! Loveral's dead!" There was a sound of sudden activity, and everywhere went the cry, "Loveral's dead!" Loveral sank to his haunches and opened his lips. The blood was there, too. He could hear the shouts and the laughter, and then the tearing of steel, the smashing of glass. He bent over his knees, trembling with a sudden chill. The sound of destruction grew like thunder. "Why?" he said in his dying throat. "Oh, why? It was what they said they wanted." THE END Transcriber's Note: This etext was produced from _If Worlds of Science Fiction_ September 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 PLANET OF DREAMS *** 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.