The Project Gutenberg eBook of Extracts from the Galactick Almanack: Music Around the Universe
    
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: Extracts from the Galactick Almanack: Music Around the Universe

Author: Laurence M. Janifer

Illustrator: Don Martin

Release date: April 2, 2016 [eBook #51622]

Language: English

Credits: Produced by Greg Weeks, Mary Meehan and the Online
        Distributed Proofreading Team at http://www.pgdp.net


*** START OF THE PROJECT GUTENBERG EBOOK EXTRACTS FROM THE GALACTICK ALMANACK: MUSIC AROUND THE UNIVERSE ***




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









                 EXTRACTS FROM THE GALACTICK ALMANACK

                       Music Around the Universe

                          By LARRY M. HARRIS

                       Illustrated by DON MARTIN

           [Transcriber's Note: This etext was produced from
                      Galaxy Magazine June 1959.
         Extensive research did not uncover any evidence that
         the U.S. copyright on this publication was renewed.]




              Don't take your eye off music ... there is
           going to be a lot more to it than meets the ear!


This first selection deals entirely with the Music Section of the
Almanack. Passed over in this anthology, which is intended for
general readership, are all references to the four-dimensional doubly
extensive polyphony of Green III (interested parties are referred
to "Time in Reverse, or the Musical Granny Knot," by Alfid Carp,
_Papers of the Rigel Musicological Society_) or, for reasons of
local censorship, the notices regarding Shem VI, VII and IX and the
racial-sex "music" which is common on those planets.

All dates have been made conformable with the Terran Calendar (as in
the standard Terran edition of the Almanack) by application of Winstock
Benjamin's Least Square Variable Time Scale.

       *       *       *       *       *

_FEBRUARY 17_: Today marks the birth date of Freem Freem, of
Dubhe IV, perhaps the most celebrated child prodigy in musical
history. Though it is, of course, true that he appeared in no concerts
after the age of twelve, none who have seen the solidographs of
his early performances can ever forget the intent face, the tense,
accurate motions of the hands, the utter perfection of Freem's entire
performance.

His first concert, given at the age of four, was an amazing spectacle.
Respected critics refused to believe that Freem was as young as his
manager (an octopoid from Fomalhaut) claimed, and were satisfied only
by the sworn affidavit of Glerk, the well-known Sirian, who was present
at the preliminary interviews.

Being a Sirian, Glerk was naturally incapable of dissimulation, and his
earnest supersonics soon persuaded the critics of the truth. Freem was,
in actuality, only four years old.

In the next eight years, Freem concertized throughout the Galaxy. His
triumph on Deneb at the age of six, the stellar reception given him by
a deputation of composers and critics from the Lesser Magellanic Cloud
when he appeared in that sector, and the introduction (as an encore) of
his single composition, the beloved _Memories of Old Age_, are still
recalled.

And then, at the age of eleven, Freem's concerts ceased. Music-lovers
throughout the Galaxy were stunned by the news that their famed prodigy
would appear no longer. At the age of twelve, Freem Freem was dead.

Terrans have never felt this loss as deeply as other Galactic races,
and it is not difficult to see why. The standard "year" of Dubhe IV
equals 300 Earth years; to the short-lived Terrans, Freem Freem had
given his first concert at the age of 1200, and had died at the ripe
old age of 3600 years.

"Calling a 1200-year-old being a child prodigy," states the Terran
Dictionary of Music and Musicians, rather tartly, "is the kind of
misstatement up with which we shall not put."

Particularly noteworthy is the parallel attitude expressed by the
inhabitants of Terk I, whose "year" is approximately three Terran days,
to the alleged "short" life of Wolfgang Amadeus Mozart.

       *       *       *       *       *

_MAY 12_: Wilrik Rotha Rotha Delk Shkulma Tik was born on this
date in 8080. Although he/she is renowned both as the creator of
symphonic music on Wolf XVI and as the progenitor of the sole Galactic
Censorship Law which remains in effect in this enlightened age, very
little is actually known about the history of that law.

The full story is, very roughly, as follows:

In 8257, a composition was published by the firm of Scholer and Dichs
(Sirius), the Concerto for Wood-Block and Orchestra by Tik. Since this
was not only the first appearance of any composition by Tik, but was
in fact the first composition of any kind to see publication from his
planet of Wolf XVI, the musical world was astonished at the power,
control and mastery the piece showed.

A review which is still extant stated: "It is not possible that a
composition of such a high level of organization should be the first
to proceed from a composer--or from an entire planet. Yet we must
recognize the merit and worth of Tik's Concerto, and applaud the force
of the composer, in a higher degree than usual."

Even more amazing than the foregoing was the speed with which Tik's
compositions followed one another. The Concerto was followed by a
sonata, Tik's _Tock_, his/her Free-Fall Ballet for Centipedals,
_Lights! Action! Comrades!_, a Symphony, an Imbroglio for Unstrung
Violin, and fourteen Wolfish Rhapsodies--_all within the year_!

Scholars visited Wolf XVI and reported once again that there was no
musical history on the planet.

Success, fame and money were Tik's. Succeeding compositions were
received with an amount of enthusiasm that would have done credit to
any musician.

And Wolf XVI seemed to awaken at his/her touch. Within ten years, there
was a school of composition established there, and works of astounding
complexity and beauty came pouring forth. The "great flowering," as
it was called, seemed to inspire other planets as well--to name only a
few, Dog XII, Goldstone IX and Trent II (whose inhabitants, dwelling
underwater for the most part, had never had anything like a musical
history).

Tik's own income began to go down as the process continued. Then the
astonishing truth was discovered.

Tik was not a composer at all--merely an electronics technician! He/she
had recorded the sounds of the planet's main downtown business center
and slowed the recording to half-speed. Since the inhabitants of Wolf
XVI converse in batlike squeals, this slowing resulted in a series of
patterns which fell within sonic range, and which had all of the scope
and the complexity of music itself.

The other planets had copied the trick and soon the Galaxy was glutted
with this electronic "music." The climax came when a judge on Paolo III
aided in the recording of a court trial over which he presided. During
the two weeks of subsonic testimony, speech and bustle, he supervised
recording apparatus and, in fact, announced that he had performed the
actual "arrangement" involved: speeding up the recordings so that the
two-week subsonic trial became a half-hour fantasia.

The judge lost the subsequent election and irrationally placed the
blame on the recording (which had not been well-received by the
critics). Single-handed, he restored the state of pure music by pushing
through the Galactic Assembly a censorship rule requiring that all
recording companies, musicians, technicians and composers be limited to
the normal sonic range of the planet on which they were working.

Tik himself, after the passage of this law, eked out a bare living as a
translator from the supersonic. He died, alone and friendless, in 9501.

       *       *       *       *       *

_JUNE 4_: The composition, on this date, in 8236, of Wladislaw
Wladislaw's Concertino for Enclosed Harp stirs reflections in
musical minds of the inventor and first virtuoso on this instrument,
the ingenious Barsak Gh. Therwent of Canopus XII. Nowadays, with
compositions for that instrument as common as the _chadlas_ of Gh.
Therwent's home planet, we are likely to pass over the startling and
almost accidental circumstance that led to his marvelous discovery.

As a small boy, Gh. Therwent was enamored of music and musicians;
he played the _gleep_-flute before the age of eight and, using his
hair-thin minor arms, was an accomplished performer on the Irish (or
small open) harp in his fifteenth year. A tendency to confuse the
strings of the harp with his own digital extremities, however, seemed
serious enough to rule out a concert career for the young _flalk_, and
when an Earth-made piano was delivered to the home of a neighbor who
fancied himself a collector of baroque instruments, young Gh. was among
the first to attempt playing on it.

Unfortunately, he could not muster pressure sufficient in his secondary
arms and digits to depress the keys; more, he kept slipping between
them. It was one such slip that led to his discovery of the enclosed
strings at the back of the piano (a spinet).

The subtle sonorities of plucked strings at the back of a closed
chamber excited him, and he continued research into the instrument in
a somewhat more organized manner. Soon he was able to give a concert
of music which he himself had arranged--and when Wladislaw Wladislaw
dedicated his composition to Gh., the performer's future was assured.

The rest of his triumphant story is too well known to repeat here. The
single observation on Gh. Therwent's playing, however, by the composer
Ratling, is perhaps worthy of note.

"He don't play on the white keys, and he don't play on the black keys,"
said Ratling, with that cultivated lack of grammar which made him
famous as an eccentric. "He plays in the cracks!"

       *       *       *       *       *

_JULY 23_: On this date, the Hrrshtk Notes were discovered in a
_welf_-shop cellar on Deneb III.

These notes are, quite certainly, alone in their originality, and in
the force which they have had on the growth of subsequent musicians.

To begin at the beginning: it is well established that Ludwig Hrrshtk,
perhaps the most widely known Denebian composer, died of overwork in
his prime. His compositions, until the famous T85 discoveries of G'g
Rash, were almost alone in their universal appeal. Races the Galaxy
over have thrilled to Hrrshtk's Second Symphony, his Concerto for Old
Men, and the inspiring Classic Mambo Suite. It is, as a matter of fact,
said that G'g Rash himself was led to his discovery by considering the
question:

"How can many different races, experiencing totally different emotions
in totally different ways, agree on the importance of a single
musical composition by Hrrshtk? How can all share a single emotional
experience?"

His researches delved deeply into the Hrrshtk compositions, and a
tentative theory based on the Most Common Harmonic, now shown to have
been totally mistaken, led to the T85 discoveries.

The Hrrshtk notes, however, found long afterward, provide the real
answer.

Among a pile of sketches and musical fragments was found a long
list--or, rather, a series of lists. In the form of a Galactic
Dictionary, the paper is divided into many columns, each headed with
the name of a different planet.

Rather than describe this document, we are printing an excerpt from it
herewith:

    DENEB III  TERRA    MARS       FOMALHAUT II  SIRIUS VII
    Love       Anger    Hunger     Sadness       Madness
    Hate       Joy      F'rit      Prayer        Love
    Prayer     Madness  Sadness    Full          Joy
    Vilb       NPE      Non-F'rit  Golk          NPE

In completed form, the document contains over one hundred and fifty
separate listings for race, and over six hundred separate emotional or
subject headings. In some places (like the Terra and Sirius listing
for Vilb, above), the text is marked NPE, and this has been taken to
mean No Precise Equivalent. For instance, such a marking appears after
the Denebian _shhr_ for both Terra and Mars, although Sirius has the
listing _grk_ and Fomalhaut _plarat_ in the desert.

Hrrshtk may be hailed, therefore, as the discoverer of the Doctrine
of Emotional Equivalency, later promulgated in a different form by
Space Patrol Psychiatrist Rodney Garman. Further, the document alluded
to above explains a phrase in Hrrshtk's noted letter to Dibble Young,
which has puzzled commentators since its first appearance.

Hrrshtk is here alluding to the composition of his Revolutionary Ode,
which all Terra knows as the most perfect expression of true love to be
found in music:

"It's a Revolutionary Ode to me, my friend--but not to you. As we say
here, one man's mood is another man's passion."

       *       *       *       *       *

_SEPTEMBER 1_: On this date in the year 9909, Treth Schmaltar died
on his home planet of Wellington V. All the Galaxy knows his famous
Symphonic Storm Suite; less known, but equally interesting, is the
history and development of its solo instrument.

The natives of Wellington V feed on airborne plankton, which is carried
by the vibrations of sound or speech. This was a little-known fact for
many years, but did account for the joy with which the first explorers
on Wellington V were greeted. Their speech created waves that fed the
natives.

When eating, the natives emit a strange humming noise, due to the
action of the peculiar glottis. These facts drove the first settlers,
like Treth Schmaltar, to the invention of a new instrument.

This was a large drumlike construction with a small hole in its side
through which airborne plankton could enter. Inside the drum, a
Wellingtonian crouched. When the drum was beaten, the air vibrations
drove plankton into the native's mouth, and he ate and hummed.

(A mechanical device has since replaced the native. This is, of course,
due to the terrific expense of importing both natives and plankton to
other planets than Wellington V for concerts.)

Thus, a peculiarity of native life led not only to the Symphonic Storm
Suite, but to such lovely compositions as Schmaltar's Hum-Drum Sonata.

       *       *       *       *       *

_SEPTEMBER 30_: The victimization of the swanlike inhabitants of
Harsh XII, perhaps the most pitiful musical scandal of the ages, was
begun by Ferd Pill, born on this date in 8181. Pill, who died penitent
in a neuterary of the Benedictine Order, is said to have conceived his
idea after perusing some early Terran legends about the swan.

He never represented himself as the composer, but always as the agent
or representative of a Harsh XII inhabitant. In the short space of
three years, he sold over two hundred songs, none of great length
but all, as musicians agree to this day, of a startling and almost
un-Hnau-like beauty.

When a clerk in the records department of Pill's publishers discovered
that Pill, having listed himself as the heir of each of the Harsh XII
composers, was in fact collecting their money, an investigation began.

That the composers were in fact dead was easily discovered. That Pill
was their murderer was the next matter that came to light.

In an agony of self-abasement, Pill confessed his crime. "The Harshians
don't sing at all," he said. "They don't make a sound. But--like the
legendary swan of old Terra--they do deliver themselves of one song in
dying. I murdered them in order to record these songs, and then sold
the recordings."

Pill's subsequent escape from the prison in which he was confined, and
his trip to the sanctuary of the neuterary, were said to have been
arranged by the grateful widow of one of the murdered Harshians, who
had been enabled by her mate's death to remarry with a younger and
handsomer Harshian.

       *       *       *       *       *

_DECEMBER 5_: Today marks the birthday of Timmis Calk, a science
teacher of Lavoris II.

Calk is almost forgotten today, but his magnificent Student Orchestra
created a storm both of approval and protest when it was first seen
in 9734. Critics on both sides of what rapidly became a Galaxywide
controversy were forced, however, to acknowledge the magnificent
playing of the Student Orchestra and its great technical attainments.

Its story begins with Calk himself and his sweetheart, a lovely being
named Silla.

Though Calk's love for Silla was true and profound, Silla did not
return his affectionate feelings. She was an anti-scientist, a
musician. The sects were split on Lavoris II to such an extent that
marriage between Calk and his beloved would have meant crossing the
class lines--something which Silla, a music-lover, was unwilling to
contemplate.

Calk therefore determined to prove to her that a scientist could be
just as artistic as any musician. Months of hard work followed, until
finally he was ready.

He engaged the great Drick Hall for his first concert--and the program
consisted entirely of classical works of great difficulty. Beethoven's
Ninth Symphony opened the program, and Fenk's Reversed Ode closed it.
Calk had no time for the plaudits of critics and audience; he went
searching for Silla.

But he was too late. She had heard his concert--and had immediately
accepted the marriage proposal of a childhood sweetheart.

Calk nearly committed suicide. But at the last moment, he tossed the
spraying-bottle away and went back to Silla.

"Why?" he said. "Why did you reject me, after hearing the marvelous
music which I created?"

"You are not a musician, but a scientist," Silla said. "Any musician
would have refrained from _growing_ his orchestra from seeds."

Unable to understand her esthetic revulsion, Calk determined there and
then to continue his work with the Student Orchestra (it made a great
deal more money than science-teaching). Wrapping his rootlets around
his branches, he rolled away from her with crackling dignity.







*** END OF THE PROJECT GUTENBERG EBOOK EXTRACTS FROM THE GALACTICK ALMANACK: MUSIC AROUND THE UNIVERSE ***


    

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.