The Project Gutenberg eBook of Behold this Dreamer, by Elizabeth Bartlett

Behold This Dreamer was originally published in 1959 by Editorial Jus in Mexico City, and is now out-of-print. The authors literary executor, Steven James Bartlett, has decided to make the book available as an open access publication, freely available to readers through Project Gutenberg under the terms of the Creative Commons Attribution-Noncommercial-NoDerivs license, which allows anyone to distribute this work without changes to its content, provided that both the author and the original URL from which this work was obtained are mentioned, that the contents of this work are not used for commercial purposes or profit, and that this work will not be used without the copyright holder's written permission in derivative works (i.e., you may not alter, transform, or build upon this work without such permission). The full legal statement of this license may be found at:

Accent, American Weave, Approach, Arizona Quarterly, Beloit Poetry Journal, Canadian Forum, Catholic World, Chelsea Review, Coastlines, Commentary, Cresset, Epos, Fiddlehead, Folio, four quarters, Harper's, Harper's Bazaar, Literary Review, Mexican Life, Naked Ear, New Mexico Quarterly, New Poems 2, New Voices 2, N. Y. Herald Tribune, N. Y. Times, Nimrod, Odyssey, Outposts, Personalist, Poetry Chapbook, Prairie Schooner, Quixote, Saturday Review, Shenandoah Review, Southwest Review, Sparrow, Step Ladder, Venture, Views, Western Review, Western Humanities Review, Whetstone, Wisconsin Poetry.

Acknowledgements: Certain of the poems in this collection have appeared in publications listed above.

The title, Behold This Dreamer , is taken from an anthology of that name, in tribute to its author, Walter de la Mare (1873-1956).

Behold this Dreamer

Vision

EYE center of the universe
Whose pupil is the world
Teach us to see the light
Embracing night

Between the sunset and the dawn
To see the unicorn
Within that crystal ball
Of pure recall

Where time is an iris mirror
A pointillated blur
Of image and of form
Caught in its storm

With every moment held inside
The frame of canvas mind
Forever captive, stilled,
Motion fulfilled

Where memory and dream evoke
The future like a window
Made of stained glass, one cast
From the fractured past

As retina and perspective
For our darkness, the bridge
Connecting what has been
With things foreseen

Through your bright lens, illuminate
The galaxy that waits
Invisible as trust
In stars and dust

The Poet's Dream

Time Will Tell

WHERE fireflies are stars
And the evening sky a sea,
There you will find me, far
From the leveling demands
That leveled you and me.

When distant mountains bend
Like deep swells toward the shore,
Then you will see the ends
For which I built my dikes
Against the lowly roar.

Though breath was all I owned
To force my heart to climb,
Though words were all the stones
I had to seal my mind,
You will know why, in time.

Afternoon of a Journey

We dove through tropic noon
Into a green sky. The palms stood
Quiet, still, their fronds
Like swollen waves about
To break, transparent, lime limned
And streaked from base to rim
With icy light.

Lungs gilled and arms finned wide,
We slipped into the pale
Of that dry sea, following downrays
Until we reached the cool
Of silence, a sandpaved lagoon
Upholding its weight of time
Under trees that climbed.

Perched on a log, we scanned
The currents, the drifting shaft
Of shadows, instinctively alert
To armadillo's crawl, the stir
Of something red,
The eye of an iguana met...
Ourselves. Perceiving

We were not alone in breathing,
Being witness,
As well as evidence
In that primal air,
How all of us shared
In the serene of a sunless glow
Which waterless flowed.

Gently, we moved along a path
That opened as we passed,
Whispering our affirmations
To those secret ones
Who flickered and flashed,
Carrying our echoes back
From near, then far, far off.

And slowly, the silence arced,
Leaped high—and broke,
With parrots in the undertow
As the waves rolled over
And the green tide flooded
The forest floor, whirling,
Swirling a world set free.

Now all of us were cells
In a chemistry of shells
Older than snails,
Plankton or sunbaked clay,
Fellow creatures in an afternoon
As joyous as a long lost tune
About to be remembered.

Oh all of us there
In that drenched, tropic green
Began to sing and sing,
Shedding our ties
With root and rock and sky,
As we found our song
In our living bond.

Pod and leaf, mouth and beak,
Whatever lived and breathed
That sudden afternoon,
Sang wonder through the woods,
As we heard and discovered
Each in the other
Without a word.

Until a metallic bird,
On roaring wings,
Crashed our song beneath
The hammered surf,
As it thundered,
Like lightning in a storm,
Fearfully born.

Then all of us
Grew motionless
In the sculptured undersea
Of silenced green,
Knowing, as we did again,
The thing forbidden and forgotten
In a world of men.

The Cave

The Test

HE who would climb the heights of tone
And scale the peaks beyond the listening ear,
Must first walk over water
And learn to stand on air, alone.

He who would swim the waves of light
And dive past shores into a sunless glow,
Must first merge with his shadow
And melt through solid glass, like night.

Where eyes are fins and sound is leap,
The rhythmic force performs its own ballet;
When dreams are fired in clay,
They burn a path through timeless sleep.

In His Image

WHO has not looked into the heart of night
and seen the darker light,
concealed like spectral stars
beyond the rim of Mars,

Who has not listened to the sound of mind
and heard the silence wind,
like rivers underground
out to a sea profound,

Who has not reached above the clouded span
and touched the cosmic plan,
upheld like spider's climb
upon the spokes of time,

Who has not followed the labyrinthine thread
And crushed the monstrous dread,
that other men may gleam
the glory of the dream,

Who has not lived within his hour of space
and etched it with his face,
as portrait of the sun
reflects the solar one,

All This, Before

I RACED, I rushed, I ran,
to catch the empty hand of time—
Before the wind, the blowing wind,
This breathless gift.

I willed, I worked, I wept,
To melt the frozen face of time—
Before the sun, the burning sun,
This frenzied bone.

I drank, I danced, I dared,
To tempt the stony foot of time—
Before the rain, the driving rain,
This raptured flame.

I leaped, I laughed, I loved,
To ease the burdened heart of time—
Before the dust, the settling dust,
This flesh and blood.

The Creation

OUT of the white and the blue
Out of the mist and the ice
Out of the wind and the flame
The creature came.

With eyes as brilliant as the light
With ears as lucid as the sound
With feet as sudden as the thought
The creature caught

A breath from the yawning sky
A drop from the nodding sea
A root from the sleeping earth
And from their birth

Measured the length of the seasons
Balanced the rhythm of the tides
Secured the growing of the seed
And woke the need

Of the dream inside the egg
Of the thirst within the cell
Of the shape beneath the bone
Then took a stone

And breaking the silent void
And loosing the swollen stream
And cutting the golden thread
The creature said:

Here on this dot of bounded space
Here in this point of moving time
Here with this seal of life and death
I fix my breath

That all the works of my hands
That all the passions of my heart
That all the wonders of my brain
Shall here remain.

I, Gilgamesh, Rama, Adam
I, Phoenician, Saxon, Mayan
I, Peasant, Leader, Architect
By this reject

Perpetual day or night
Everlasting rain or drought
Eternal struggle or peace
Until words cease

Between infinite men and gods
Between partisan young and old
Between ultimate right and wrong
For each is strong.

Let calendar be as record
Let monument be as witness
Let history here determine
Which shall win.

Then the sky hurled its lightning
Then the sea roared its thunder
Then the earth reared its fire
To show their ire

At the vanity of the ego
At the rashness of the sower
At the folly of the dreamer
And redeemer

Who would thus destroy the sun
Who would thus defy the flood
Who would thus pollute the air
And showed him there

The blinding vision of the truth
The deafening echoes of the damned
The crashing madness of the plan
That he began.

And when he saw the faces
And when he heard the weeping
And when he knew the sickness
That men possess

As mortal children of ambition
As transient strangers of desire
As fatal victims of perfection
Released by none

From the essence of the grape
From the music of the reed
From the incense of the bowl
The creature stole

The power of forgetfulness
The illusion of contentment
The promise of exaltation
Making them one

That the lost and unfulfilled
That the laughter and the pain
That the glory and defeat
Be complete

Seeing how frail is the candle
Hearing how brief is the song
Knowing how soon is the temple
Darkened and still.

Then slipped the root from his feet
Then poured the sound from his ears
Then blew the light from his eyes
And went more wise

Into the white and the blue
Into the mist and the ice
Into the wind and the flame
The way he came.

[Editorial note: The author's literary executor discovered in Elizabeth Bartlett's personal autographed hardbound copy of Behold This Dreamer her own marginal notations relating to the next-to-the-last stanza of the above poem, accompanied by her confirming handwritten revision of that stanza. The stanza as printed here incorporates her revision.]

Behold This Dreamer
is a signed, limited edition
designed by the author
on Corsican rag paper
in Baskerville type

Elizabeth Bartlett (1911-1994) was an American poet and writer noted for her lyrical and symbolic poetry, creation of the new twelve-tone form of poetry, founder of the international non-profit organization Literary Olympics, Inc., and known as an author of fiction, essays, reviews, translations, and as an editor. She is not to be confused with the British poet (1924-2008) of the same name. For more detailed information about her life, work, and critical commendations, see the Wikipedia article http://en.wikipedia.org/wiki/Elizabeth_Bartlett_%28American_poet%29 .

• Creation of a new form of poetry, "the twelve-tone poem," adapting Arnold Schonbergs musical system to the verbal, accented sounds of language. Called "the Emily Dickinson of the 20th Century," her concise lyrics have been praised by poets, musicians, and composers alike.

• Publication of 16 books of poetry, a group of edited anthologies, and more than 1,000 poems, short stories, and essays published, for example, in Harpers , Virginia Quarterly , New York Times , North American Review , Saturday Review , Prairie Schooner , and in numerous international collections.

• Recipient of many fellowships, grants and awards, including NEA, PEN Syndicate, fellowships at the Huntington Hartford Foundation, Montalvo, Yaddo, MacDowell, Dorland Mt. Colony and Ragdale, travel grants, and honors for introducing literature as part of the Olympics.

• Founder of the Literary Olympics, to restore literature, specifically poetry, as a vital part of the Olympics as it once had been in ancient Greece.

Bartletts poetry came to the attention of leading poets, writers, and critics as diverse as Marianne Moore, Wallace Stevens, Mark Van Doren, Conrad Aiken, Allen Tate, Alfred Kreymborg, Robert Hillyer, Louis Untermeyer, Rolfe Humphries, John Ciardi, Richard Eberhart, Richard Wilbur, Maxine Kumin, Robert M. Hutchins, Kenneth Rexroth, William Stafford, and others. Over the years, Bartlett maintained an active and extensive correspondence with eminent poets, writers, and literary critics; evident throughout this collected literary correspondence are strong statements attesting to the importance of her work.

Behold This Dreamer was published in Mexico City in 1959. By 1961, Jonathan Williams wrote of the book: "Your language is cultivated, employed consistently and lucidly. To my observation, it seems fair to say that you belong with the best of your generation, which I would say includes May Swenson, Denise Levertov, Garrigue, et al." Louis Untermeyer added his voice: "I particularly like your fusion of observation and whimsicality, as well as your avoidance of the poetic stereotypes." Rolfe Humphries was intrigued by Bartletts poetic techniques: "I enjoyed your poems and admire many...." About Behold This Dreamer , Gustav Davidson wrote: "I enjoyed reading these poems. I was impressed by their precision, clarity, and technical competence." About the same work, critic Paul Jordan-Smith wrote: "Your poems were begotten of a strong, imaginative sense. My congratulations on this beautiful collection."

Elizabeth Bartlett's husband, Paul Alexander Bartlett (19091990) was an American writer, artist, and poet. He made a large-scale study of more than 350 Mexican haciendas, published novels, short stories, and poetry, and worked as a fine artist in a variety of media. For more detailed information about his life and work, see the Wikipedia article https://en.wikipedia.org/wiki/Paul_Alexander_Bartlett .

Elizabeth Bartletts son, Steven James Bartlett (1945 ), is a psychologist and philosopher who has published many books and articles in the fields of philosophy and psychology. For more detailed information about his life and work, see the Wikipedia article https://en.wikipedia.org/wiki/Steven_James_Bartlett .

*** END OF THE PROJECT GUTENBERG EBOOK BEHOLD THIS DREAMER ***

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

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.

This particular work is one of the few individual works protected by copyright law in the United States and most of the remainder of the world, included in the Project Gutenberg collection with the permission of the copyright holder. Information on the copyright owner for this particular work and the terms of use imposed by the copyright holder on this work are set forth at the beginning of this work.

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.

The Project Gutenberg eBook of Behold this Dreamer

Behold this Dreamer

Vision

The Poet's Dream

Time Will Tell

Afternoon of a Journey

The Cave

The Test

In His Image

All This, Before

The Creation

THE FULL PROJECT GUTENBERG LICENSE