The Black Feather / From "Mackinac And Lake Stories", 1899
Date: 2007-10-30T00:00:00+00:00
Keywords: United States -- Social life and customs -- Fiction; Mackinac Island (Mich. : Island) -- Fiction; Michigan -- Fiction

The Project Gutenberg eBook of The Black Feather

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: The Black Feather

Author: Mary Hartwell Catherwood

Release date: October 30, 2007 [eBook #23248]
Most recently updated: January 5, 2013

Language: English

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK THE BLACK FEATHER ***

THE BLACK FEATHER

From "Mackinac And Lake Stories", 1899

By Mary Hartwell Catherwood

Over a hundred voyageurs were sorting furs in the American Fur Company's yard, under the supervision of the clerks. And though it was hard labor, lasting from five in the morning until sunset, they thought lightly of it as fatigue duty after their eleven months of toil and privation in the wilderness. Fort Mackinac was glittering white on the heights above them, and half-way up a paved ascent leading to the sally-port sauntered 'Tite Laboise. All the voyageurs saw her; and strict as was the discipline of the yard, they directly expected trouble.

The packing, however, went on with vigor. Every beaver, marten, mink, musk-rat, raccoon, lynx, wild-cat, fox, wolverine, otter, badger, or other skin had to be beaten, graded, counted, tallied in the company's book, put into press, and marked for shipment to John Jacob Astor in New York. As there were twelve grades of sable, and eight even of deer, the grading, which fell to the clerks, was no light task. Heads of brigades that had brought these furs from the wilderness stood by to challenge any mistake in the count. It was the height of the fur season, and Mackinac Island was the front of the world to the two or three thousand men gathered in for its brief summer.

Axe strokes reverberated from Bois Blanc, on the opposite side of the strait, and passed echoes from island to island to the shutting down of the horizon. Choppers detailed to cut wood were getting boatloads ready for the leachers, who had hulled corn to prepare for winter rations. One pint of lyed corn with from two to four ounces of tallow was the daily allowance of a voyageur, and the endurance which this food gave him passes belief.

Étienne St. Martin grumbled at it when he came fresh from Canada and pork eating. "Mange'-du-lard," his companions called him, especially Charle' Charette, who was the giant and the wearer of the black feather in his brigade of a dozen boats. Huge and innocent primitive man was Charle' Charette. He could sleep under snow-drifts like a baby, carry double packs of furs, pull oars all day without tiring, and dance all night after hardships which caused some men to desire to lie down and die. The summer before, at nineteen years of age, this light-haired, light-hearted voyageur had been married to 'Tite Laboise. Their wedding festivities lasted the whole month of the Mackinac season. His was the Wabash and Illinois River outfit, almost the last to leave the island; for the Lake Superior, Upper and Lower Mississippi, Lake of the Woods, and other outfits were obliged to seek Indian hunting-grounds at the earliest breath of autumn.

When the Illinois brigade returned, his wife, who had stood weeping in the cheering crowd while his companions made islands ring with the boat-song at departure, refused to see him. He went to the house of her aunt Laboise, where she lived. Mademoiselle Laboise, her half-breed cousin, met him. This educated young lady, daughter of a French father and Chippewa mother, was dignified as a nun in her dress of blue broadcloth embroidered with porcupine quills. She was always called Mademoiselle Laboise, while the French girl was called merely 'Tite. Because 'Tite was married, no one considered her name changed to Madame Charette. To her husband himself she was 'Tite Laboise, the most aggravating, delicious, unaccountable creature in the Northwest.

"She says she will not see you, Charle'," said Mademoiselle Laboise, color like sunset vermilion showing in the delicate aboriginal face.

"What have I done?" gasped the voyageur.

Mademoiselle lifted French shoulders with her father's gesture. She did not know.

"Did I expect to be treated this way?" shouted the injured husband.

"Who can ever tell what 'Tite will do next?"

That was the truth. No one could tell. Yet her flightiest moods were her most alluring moods. If she had not been so pretty and so adroit at dodging whippings when a child, 'Tite Laboise might not have set Mackinac by the ears as often as she did. But her husband could not comfort himself with this thought as he turned to the shop of madame her aunt, who was also a trader.

It had surprised the Indian widow, who betrothed her own daughter to the commandant of the fort, that her husband's niece would have nobody but that big voyageur Charle' Charette. Though in those days of the young century a man might become anything; for the West was before him, an empire, and woodcraft was better than learning. Madame Laboise accepted her niece's husband with kindness. Her house was among the most hospitable in Mackinac, and she was chagrined at the reception the young man had met.

He sat down on her counter, whirling his cap and caressing the black feather in it. The gentle Chippewa woman could see that his childish pride in this trophy was almost as great as his trouble. What had 'Tite lacked? he wanted to know. Had he not good credit at the stores? Tonnerre!—if madame would pardon him—was not his entire year's wage at the girl's service? Had he spent money on himself, except for tobacco and necessary buckskins? Madame knew a voyageur was allowed to carry scarce twenty pounds of baggage in the boats.

Did 'Tite want a better man? Let madame look at the black feather in his cap. The crow did not fly that could furnish a quill he could not take from any man in his brigade. Charle' threw out the arch of his beautiful torso. And he loved her. Madame knew what tears he had shed, what serenades he had played on his fiddle under 'Tite's window, and how he had outdanced her other partners. He dropped his head on his breast and picked at the crow's feather.

The widow Laboise pitied him. But who could account for 'Tite's whims? "When she heard the boats were in sight she was frantic with joy. I myself," asserted madame, "saw her clapping her hands when we could catch the song of the returning voyageurs. It was then 'Oh, my Charle'! my Charle'!' But scarce have the men leaped on the dock when off she goes and locks the door of her bedroom. It is 'Tite. I can say no more."

"What offended her?"

"I know of nothing. You have been as good a husband as a voyageur could be. And Mackinac is so dull in winter she can amuse herself but little. It was hard for her to wait your return. Now she will not look at you. It is very silly."

What would Madame Laboise advise him to do?

Madame would advise him to wait as if nothing had occurred. The curé would admonish 'Tite if she continued her sulking. In the mean time he must content himself with tenting or lodging among his fellow-voyageurs.

Of the two or three thousand voyageurs and clerks, one hundred lived in the agency house, five hundred were accommodated in barracks, but the majority found shelter in tents and in the houses of the villagers. Every night of the fur-trading month there was a ball in Mackinac, given either by the householders or their guests; and it often happened that a man spent in one month all he had earned by his year of tremendous and far-reaching toil. But he had society, and what was to him the cream of existence, while it lasted. He fitted himself out with new shirts and buckskins, sashes, caps, neips, and moccasins, and when he was not on duty showed himself like a hero, knife in sheath, a weather-browned and sinewy figure. To dance, sing, drink, and play the violin, and have the scant dozen white women, the half-breeds, and squaws of Mackinac admire him, was a voyageur's heaven—its brief duration being its charm. For he was a born woodsman and loved his life.

Charle' Charette did not care where he lodged. Neither had he any heart to dance, until he looked through the door of the house where festivities began that season and saw 'Tite Laboise footing it with Étienne St. Martin. Parbleu! With Étienne St. Martin, the squab little lard-eater whose brother, Alexis St. Martin, had been put into doctors' books on account of having his stomach partly shot away, and a valve forming over the rent so that his digestion could be watched. It was disgusting. 'Tite would not speak to her own husband, but she would come out before all Mackinac and dance with any other voyageurs who crowded about her. Charle' sprang into the house himself, and without looking at his wife, hilariously led other women to the best places, and danced with every sinuous and graceful curve of his body. 'Tite did not look at him. From the corner of his eye he noted how perfect she was, the fiend! and how well she had dressed herself on his money. All the brigades knew his trouble by that time, and an easy breath was drawn by his entertainers when he left the house with knife still sheathed. In the wilderness the will of a brigade commander was law; but when the voyageur was out of the Fur Company's yard in Mackinac his own will was law.

One of the cautious clerks suggested that Charle' and Étienne be separated in their work, since it was likely the husband might quarrel with 'Tite Laboise's dancing partner.

"Turn 'em in together, man," chuckled the Scotch agent, Robert Stuart, who had charge of the outside work. "Let 'em fight. Man Gurdon, I havena had any sport with these wild lads since the boats came in."

But the combatants he hoped to see worked steadily until afternoon without coming to the grip. They had no brute Anglo-Saxon antagonism, and being occupied with different bales, did not face each other.

The triple row of Indian lodges basked on the incurved beach, where a thousand Indians had gathered to celebrate that vivid month. Night and day the thump of their drums and the monotonous chant of their dances could be heard above the rush and whisper of blue water breaking on pebbles.

Lake Michigan was a deep sapphire color, and from where she stood below the sally-port 'Tite Laboise could see the mainland's rim of beach and slopes of forest near and distinct in transparent light. And she could hear the farthest shaking of echoes from island to island like a throb of some sublime wind instrument. The whitewashed blockhouse at the west angle of the fort shone a marble turret. There was a low meadow between the Fur Company's yard and pine heights. Though no salt tang came in the wind, it blew sweet, refreshing the men at their dog-day labor. And all the spell of that island, which since it rose from the water it has held, lay around them.

Étienne St. Martin picked up a beaver-skin, and in the sight of 'Tite Laboise her husband laid hold of it.

"Release that, Mange'-du-lard," he said.

"Eh bien!" responded Étienne, knowing that he was challenged and the eyes of the whole yard were on him. "This fine crow he claims all Mackinac because he carries a black feather in his cap. There are black feathers in other brigades."

"But you never wore one in any brigade."

They dropped the skin and faced each other, feeling the fastenings of their belts. Old Robert Stuart slipped up a window in the office and grinned slyly out at the men surging towards that side of the yard. He would not usually permit a breach of discipline. But the winter had been so long!

"Myself I have no need of black feathers."

Étienne gave an insolent cast of the eye to the height where 'Tite Laboise stood.

Charle', magnificent of inches, scorned his less-developed antagonist.

"Eh, man Gurdon," softly called old Robert Stuart from his window, "set them to it, will ye? The lads will be jawing till the morn's morn."

This equivocal order had little effect on the ordained course of a voyageur's quarrel.

"These St. Martins without stomachs, how is a man to hit them?—pouf!" said Charle', and Etienne felt on his tender spot the cruel allusion to his brother Alexis, whose stomach had been made public property. He began to shed tears of wrath.

"I will take your scalp for that! As for the black feather, I trample it under my foot!"

"Let me see you trample it. And my head is not so easily scalped as your brother's stomach."

All the time they were dancing around each other in graceful and menacing feints. But now they clinched, and Charle' Charette, when the struggle had lasted two or three minutes, took his antagonist like a puppy and flung him revolving to the ground. He hitched his belt and glanced up towards the sally-port as he stood back laughing.

Étienne was on foot with a tiger's bound. He had no chance with the wearer of the black feather, as everybody in the yard knew, and usually a beaten antagonist was ready to shake hands after a few trials of strength. But he seized one of the knives used in opening packs and struck at the victor's side. As soon as he had struck and the bloody knife came back in his hand he crouched and rolled his eyes around in apology. No man was afraid of shedding blood in those days, but he felt he had gone too far—that his quarrel was not sufficiently grounded. He heard a woman's scream, and the sharp checking exclamation of his master, and felt himself seized on each side. There was much confusion in his mind and in the yard, but he knew 'Tite Laboise flew through the gate and past him, and he tried to propitiate her by a look.

"Pig!" she projected at him like a missile, and he sat down on the ground between the guards who were trying to hold him up and wept copiously.

"I didn't want to have trouble with that Charle' Charette and that 'Tite Laboise," explained Étienne. "And I don't want any black feather. It was my brother's stomach. On account of my brother's stomach I have to fight. If they do not let my brother's stomach alone, I will have to kill the whole brigade."

But Charle' Charette walked into the Fur Company's building feeling nothing but disdain for the puny stock of St. Martin, as he held out his arm and let the blood drip from a little wound that stained his calico shirt-sleeve. The very neips around his ankles seemed to tingle with desire to kick poor Étienne.

It was not necessary to send for the surgeon of the fort. Robert Stuart dressed the wound, salving it with the rebukes which he knew discipline demanded, and making them as strong as his own enjoyment had been. He promised to break the head of every voyageur in the yard with a board if another quarrel occurred. And he pretended not to see the culprit's trembling wife, that little besom whose caprices had set the men by the ears ever since she was old enough to know the figures of a dance, yet for whom he and Mrs. Stuart had a warm corner in their hearts. She had caused the first fracas of the season, moreover. He went out and slammed the office door, ordering the men away from it.

"Bring me yon Étienne St. Martin," commanded Mr. Stuart, preparing his arsenal of strong language. "I'll have a word with yon carl for this."

The noise of the one-sided conflict could be heard in the office, but 'Tite remained as if she heard nothing, with her head and arms on the desk. Her husband took up the cap with the black feather, which he had thrown off in the presence of his superior. He rested it against his side, his elbow pointing a triangle, and waited aggressively for her to speak. The back of her pretty neck and fine tendrils of curly hair ruffled above it were very moving; but his heart swelled indignantly.

"'Tite Laboise, why did you shut the door in my face when I came back to you after a year's absence?"

She answered faintly, "Me, I don't know."

"And dance with Étienne St. Martin until I am obliged to whip him?"

"Me, I don't know."

"Yes, you do know. You have concealments," he accused, and she made no defence. "This is the case: you run to the dock to see the boats come in; you are joyful until you watch me step ashore; I look for 'Tite; her back is disappearing at the corner of the street. Eh bien! I say, she would rather meet me in the house. I fly to the house. My wife refuses to see me."

'Tite made no answer.

"What have I done?" Charle' spread his hands. "My commandant has no complaint to make of me. It is Charle' Charette who leads on the trail or breaks a road where there is none, and carries the heaviest pack of furs, and pulls men out of the water when they are drowning; it is Charle' Charette who can best endure fasting when the rations run low, and can hunt and bring in meat when other voyageurs lie exhausted about the camp-fire. I am no little lard-eater from Canada, brother to a man with a stomach having no lid. Look at that." Charle' shook the decorated cap at her. "I wear the black feather of my brigade. That means that I am the best man in it."

His wife reared her head. She was like the wild sweet-brier roses which crowded alluvial strips of the island, fragrant and pink and bristling. "Yes, monsieur, that black feather—regard it. Me, I am sick of that black feather. You say I have concealments. I have. All winter I go lonely. The ice is massed on the lake; the snow is so deep, the wind is keener than a knife; I weep for my husband away in the wilderness, believing he thinks of me. Eh bien! he comes back to Mackinac. It is as you say: I fly to meet him, my breath chokes me. But my husband, what does he do?" She looked him up and down with wrathful eyes. "He does not see 'Tite. He sees nothing but that black feather in his cap that he must take off and show to Monsieur Ramsay Crooks and Monsieur Stuart—while his wife suffocates."

Charle' shrunk from his height, and his mouth opened like a fish's. "But I thought you would be proud of it."

"Me, what do I care how many men you have thrown down? You do not like me any better because you have thrown down all the men in your brigade."

"She is jealous—jealous of a feather!"

Humbled as he was by her tongue, the young voyageur felt delighted at giving his wife so trivial a rival.

He settled his belt and approached her and bowed. "Madame, permit me to offer you this black quill, which I have won for your sake, and which I boasted of to my masters that they might know you have not thrown yourself away on the poorest creature in Mackinac. Destroy it, madame. It was only the poor token of my love for you."

Graceful and polite as all the voyageurs were, Charle' Charette was the prince of them with his big sweet presence as he bent. 'Tite flew at him and flung her arms around his neck. After the manner of Latin peoples, they instantly shed tears upon each other, and the black feather was crushed between their breasts.

*** END OF THE PROJECT GUTENBERG EBOOK THE BLACK FEATHER ***

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.

Table of Contents

- THE BLACK FEATHER

- From "Mackinac And Lake Stories", 1899 By Mary Hartwell Catherwood

- THE FULL PROJECT GUTENBERG LICENSE