The Project Gutenberg eBook of Virgin Ground 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: Virgin Ground Author: Rosel George Brown Release date: November 15, 2019 [eBook #60694] Language: English Credits: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK VIRGIN GROUND *** Produced by Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net VIRGIN GROUND BY ROSEL GEORGE BROWN _Annie signed on a bride ship for Mars. There were forty brides. And when she got there, thirty-nine men were waiting._ [Transcriber's Note: This etext was produced from Worlds of If Science Fiction, February 1959. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] The pilot shoved open the airlock and kicked the stairs down. "Okay, girls. Carry your suitcases and I'll give each of you an oxygen mask as you go out. The air's been breathable for fifteen years, but it's still thin to newcomers. If you feel dizzy, take a whiff of oxygen." The forty women just stood there and looked at each other. Nobody wanted to be first. Annie moved forward, her bulky suitcase practically floating in her hand. She was a big woman with that wholesome expression which some women have to substitute for sex appeal. She'd made a great senior leader at summer camps. "I'll go first," she said, grinning confidence into the others. "I'm not likely to bring out the beast in them." She waved herself out, letting the grin set and jell. It was odd to feel light. She'd felt too heavy as far back as she could remember. Not fat heavy. Bone heavy. The sweat on her face dried suddenly. She could feel it, like something being peeled off her skin. Arid climate. It was cold. But she had the warmth to meet it. There they were! Forty men. There were supposed to be forty. What if one of them had died! Who would go back? "Not me," Annie prayed to herself. "Dear God, not me." She tried to count them. But they moved around so! They were looking at something. Not Annie. The girl coming down the ramp behind Annie. It was Sally, with the blonde hair on her shoulders. That's all they'd be able to see from there. The blonde hair. But a man was coming forward. He had a tam-like hat pulled low to good-humored eyes, and an easy stride. "Wait, Ben," one of the other men said. "See the others." "I pulled first, didn't I?" "Yeah. But you ain't seen but two yet." "I want that blonde one. Let Gary see the others." And he led Sally away. He didn't feel her muscles or look at her teeth or measure her pelvic span. After Sally came Nora. Nora giggled and waved, making a shape under the shapeless clothes. Wasn't that just like Nora? Okay. So she was cute. Second man took Nora. He didn't wait for the others. Third man took Regina. Regina looked scared, but you could see those big cow eyes a mile off. Regina obviously needed somebody to protect her. The other girls came out. Annie counted and her heart hit bottom. Someone was going to be left over. Four women, three men. They all felt embarrassed. It was the kind of thing the colonists would talk about for years. Who was last. Who was second to last. Spiteful people would remember, and in a tight little community, spite took root and throve on the least misinterpreted expression or--But then, this wouldn't be a tight little community, Annie remembered. The lichen farms were spread out over the whole temperate belt of the world. Because the lichens were grown only on hills, where the sand would not cover them. And because they did a more efficient job of oxygenating the atmosphere when they were spread over a wide area. One man, hat in hand, even in the cold. A little shriveled man with a spike of dust-colored hair, but kind-looking. "Aw...." he drawled in embarrassment. He clicked his tongue. "You're both probably too good for somebody like me. I don't know. Both fine women." The two women stood in silence. "What's your name?" "Annie." "Mary." "Mary? My sister's named Mary. Fine woman." He took Mary's hand. "No disrespect to you, Annie." They were all gone. "I could take you on my Venus run," the pilot said. He, too, was embarrassed. "But I'm afraid I'll have a full ship after that. Unless you can buy the weight and space. I'd be glad to take you free. But the company...." Annie's eyes were full but she wasn't going to let them spill. Sally brought Ben by, already looking self-consciously married. "I'm sorry, honey," she said. "Look, Annie, if you want to come stay with us until another shipment of pioneers come to break ground, you're welcome. Maybe you'd--er--find one of them you liked." It was a gesture of kindness, of course, but it made Annie's eyes spill. She turned her head away, toward the red hills. Red and the cultivated ones green. Christmas colors. "Sure," Ben said. "Swell. Any friend of Sally's is a friend of mine." And the way they looked at each other made Annie's heart lurch. "Thanks, kids," she said. "But I don't believe I'll try it. And don't worry. This isn't the first time I've been stood up." "Are you coming?" the pilot shouted across the field. "Hate to rush you, but I've got a schedule to meet." Was she coming? What else could she do? "What happened to him, Ben?" Annie asked. "My--the other man that should have been here." Ben worried a hole in the sand with one foot and cleared his throat. "He stayed home." "You mean he's _alive_! Here?" "Well ... yes. But he didn't--" "Never mind. I don't need anybody to strum a guitar under my window. If he couldn't get away from the farm today I can certainly go to him. I've got a pair of legs that'll walk around the world." "You coming?" the pilot shouted. "No!" Annie cried. "I live here." The spaceship took off, a phoenix rising from the flames. Ben was shuffling his feet, hands in his pockets. "We'd be proud to have you stay with us, Annie." "Oh, cut it out, Ben. I'm no hot-house rose. Just tell me which way and I'll find my own farm." She paused, trying to guess his thoughts. "You think he might be disappointed when he sees me? Is that it, Ben? I know I'm no pinup girl. But I'm a worker and a breeder. He'll see it. In the end, that's what's going to count." Ben was still making holes in the sand with his feet, trying to say something. "Please don't worry," Annie went on, "your friend won't be sorry. If he doesn't want to marry me right away--okay. I can understand it. But I can give him a chance to watch me work." "That isn't it," Ben said finally. "I think you look fine, Annie. It's--it's _any_ woman. He told them not to send a wife for him. _Any_ woman." "But that's ridiculous. He knows the laws. Five years and then a wife. Why did he stake out in the first place?" "That was before," Ben answered. "Before what?" "Aw, it's not for me to say. Why don't you just forget Bradman. He's a good enough guy. But not for you. You come--" "Which way and how far?" Ben looked at her hard. "Okay. On Mars your life is your own." He pointed. "Second farmbubble you come to. And you'd better hurry. It ought to take eight hours and night falls like a ton of bricks here." Annie made it in seven. Easy. * * * * * She went up to the transparent hemisphere. He was inside working. She shouted, but if he heard her he didn't look up. She went to the flap that must be the door. There wasn't anything to knock on, so she opened the flap and walked in. There was nothing in the room but a cot, kitchen equipment and lichen, growing on a number of tables. The air was richer than outside and Annie breathed it thirstily. "I'm Annie Strug," she said, smiling and wishing it wasn't such an ugly name. He glanced up, angry blue eyes under a growth of black hair. He didn't say a word. Annie set her suitcase down and looked out at the green growth on the hills. "Look, Mr. Bradman," she cried suddenly, pointing a spatulate finger to the western horizon. "What in the name of heaven is that?" There was a catch of fright in her voice. "We don't say 'mister' on Mars," he said reluctantly. "Brady. But you don't have to call me anything because you're leaving soon." He was a big, arid man with a sandy voice. But his hands, as he stripped the lumpy brown fruits from a giant lichen, were surprisingly delicate. "What _is_ it?" Annie asked again, turning instinctively to the big man for a reassurance and protection she had no reason to expect. Bradman straightened and moved away from her, looking at the black giant growing up from the earth in the distance and moving straight toward them. "It's a sandstorm," he said. "It'll be here in ten minutes." Annie let out the breath she had been holding. "Oh. That doesn't sound so bad. I don't know what I thought it was. I was just frightened." She smiled shyly and apologetically at Bradman. Bradman grimaced at her, his agate eyes frozen in a pallid face that should have gone with red hair. The sand-blown lines in his face were cruel. "Sister, you've got a smile like a slab of concrete. Don't try it again." "You didn't _have_ to say that," Annie said quietly, closing her eyes against the winds of her anger. "You didn't have to come here," he replied. "Goodbye." "I'm not leaving," she said, still holding tight the doors of her anger. "_I_ am." He paced heavily over the sand floor and pulled back the flap of the door. "Where are you going?" Annie glanced back at the towering giant, now glowing red in the sunlight, like some huge, grotesque devil. "Into the storm cellar. Nobody lives through a Martian sandstorm." Annie ran after him. "For God's sake take me with you! You can't leave me...." "Mine's built for one," he said, and pulled the top in over him as he disappeared into the hole. Annie broke her fingernails pulling at the cover. The wind was blowing sand in her eyes. She saw blood staining the rim of her index finger. She pounded with her fists. "Let me in!" she screamed. "In the name of God!" But all she heard was the keening sand in the wind. She looked around. The devil was closer, malignant and hungry. It wanted to eat her alive. It made her angry. "I'll fight it," she screamed. "By God, I'll fight!" Five minutes, she guessed. Maybe five minutes left. She ran into the house, ripped open her suitcase. Bundles of nylon marriage clothes. She began to sob. Some were with lace. "Fight!" she shouted to herself. There was her oxygen mask. How much oxygen? Anybody's guess. It was made for maybe a few whiffs a day over a period of several months. Swell. But it wouldn't keep the sand from tearing through her eyeballs and flaying her alive. Wrap in nylon nightgowns? Ridiculous. Spacesuit? Annie went through the one-room house as fast as she could. No spacesuit. Why should he have one? Three minutes left. Sand was blowing under the hemisphere, piling up at one end and oozing out beneath. It was possible she would simply be buried. The refrigerator! That wasn't a refrigerator. Only a cabinet, loosely joined. Annie went outside, on the side where the field of lichens grew up a smooth, stone hill. The red devil was whistling at her now; a low, insinuating whistle. Something rattled faintly against one steel rib of the hemisphere. It was a shrub, about five feet tall. Annie began to laugh hysterically. Brady had protected the shrub with loving care. It was tied to the steel rib through grommetted holes in the hemisphere, and covered with its own plastic bag to shield off the wind. One minute. The red devil was shouting now, laughing with triumph. He ran his sandy fingers through her hair and blew his gritty breath in her eyes. She pulled the zipper at the bottom of the polyethylene bag that covered the shrub and yanked the bag off. It was heavy, almost oily plastic, slippery and pliant. There was no time to decide whether it would be better inside or outside the house. She pulled the bag over her head inside out, so the zipper would close completely. Then she folded the zipper part under once and wedged herself as far as she could go into the space between shrub and hemisphere, holding the oxygen mask in her teeth. With infinite care, though she was not likely to split the heavy bag, she pulled off her shoes and her heavy, woollen walking socks. She put the shoes back on. Her slacks covered her legs. Only her ankles were bare. She unraveled one sock and stuffed the yarn in her ears. There was a sudden, remarkable quiet. Then, even through the yarn came the roar of the storm. For it was upon her. She looked through the milky plastic into a wild, red inferno, spitting at her in furious frustration. Then she bound the other sock over her eyes. She was in a blind, muffled world now, buffeted against the shrub and the wires and the steel rib, but not painfully, because of her heavy clothing. It was as though suddenly all her senses had been switched to the last pitch before silence. "I might live," Annie thought. "I might." * * * * * There was sand in the bag now. Annie could feel it sifting under her collar and blowing up her ankles. Not much. It was coming from the bottom of the bag. Probably the end of the zipper had worked open just a little. Was that the dull roar of the storm through her stoppered ears or the rushing of her own blood? If sand were seeping in, the storm must still be on. How did Bradman breathe in his storm cellar? Would the storm last long enough for the air to go bad? It would go bad fast, in an enclosed place on Mars. Bradman. What sort of monster would walk off and let another human being die? Without a glance backwards? Did the cold desert wear the humanity out of a man? How did a human being get like that? "'You've got a smile like a concrete slab.'" Is that what you say to a person when you know you're about to leave them to die? UNMARRIED WOMEN BETWEEN THE AGES OF 21 AND 30. GOOD HEALTH. WELL ADJUSTED. MARRIAGE ON ARRIVAL. MARS TRANSPORT LEAVES OCT. 1. Good health ... well adjusted ... she could see the printed words, red stereo words reaching out from the page. Unmarried women between ... they came and went in her mind and there was a roar in her ears. The words were gone now. Only a redness that came and went. No. A blackness. Annie snatched the exhausted oxygen mask off her face and gulped a pallid, sandy breath of air. It wouldn't do. She took the sock off her eyes and bound it around her nose and mouth. It would filter some of the sand out. She opened her eyes briefly and closed them. The grit stayed in. She didn't dare open them again. But the storm looked weaker. Or was it her imagination? She groped for the zipper. Foul air would kill her quicker than sand. She couldn't find it. Hell with the zipper! She pulled her little mending kit out of her pocket and slashed the bag with the scissors. The storm sounded louder now, with the bag gone. The sand blew under her eyelids. Ripped her face. Tore a burning circle around each ankle. Annie put her face in her hands, breathing through her nose and the sock. She held herself stiffly. She didn't want to cough. The whole world was a blind, gritty pain. There was no end to think of. Only pain. A grayness. A blackness. Finally, a voice. Bradman. "You ruined my shrub. Did you have to slash the bag, too?" Annie opened her eyes. They felt red and ruined. They were watering so much her cheeks were wet. She could hardly see. She was having a coughing fit. She dragged herself upright. All she could see was sand. The plastic bubble had blown off the girders and if the furnishings and her suitcase were there, her eyes were still too dim to see them. "Do you know what that shrub's worth on Mars?" Annie found the yarn had fallen out of one ear and she pulled it out of the other. "Do you know what that _bag's_ worth?" Gall ran in her veins. She spat it out of her mouth. She backed up to the steel beam and braced her feet against it, light in the Martian gravity. "I told them not to send a woman out here." She pushed off and sank her fist into his teeth. He went down. She was too light. But he was too light, too. It evened out. She turned his face and held it in the sand. Her strength was insane. "Do you know what a human life is worth?" she screamed. He struggled, but she fought his bucking body, kept his face buried in the sand until he was dead and a long time after. An age passed. Annie was frozen in a world rimed over with white starlight, sequinned with frost. Then the crosseyed moons came up. She found an edge of the plastic bubble, rumpled and limp and half buried in the sand. She pushed off the heaviest hills of sand with her hands and pulled it out. She climbed up the anchored girders with it, and then slept the rest of the night in her own home. The next day she dug out her household supplies from the sand. The day after she cleared the sand from the lichens on her farm. On the fourth day she called a few neighbors in and late in the evening she buried Bradman. No one questioned her. It had been, after all, self-defense. She kept the farm as well as any man. Better. She worked. How she worked! She kept herself numb with labor, her mind drunk with the liquors of fatigue. * * * * * After five years, he came. He just appeared inside the door flap, looking a little nervous but grinning. "I'm Jack Hamstrong," he said, his voice full and wholesome, like Iowa corn. "I--you weren't at the spaceport so I figured, what the heck. I just walked." "This is _my_ farm," Annie said. "My hands are on every inch of it." Hamstrong's ruddy face turned in on itself a little. "I know. I know the story. I didn't come to take anything away. I came to--good Lord, didn't you _know_ you'd be sent a husband?" Annie's eyes went queer, like a cat's. "A husband?" If they'd told her, she hadn't heard. "Go away," she said. She looked around at her farm, the fruits of her travail--alone. The virgin birth. "No," he said firmly. "It's yours _and_ mine. Legally. I'm not a mean man, Annie. You'll find me patient. But stubborn. I can wait." Annie sighed. Or was it a shudder? She looked up again at the puckering edges of the evening sky. She put down the knife she had been peeling a giant lichen with. She wiped her hands on her apron and lifted the door flap. "All right, then," she said. "Wait." "For what?" "The sandstorm," she said. And she got into the storm cellar and pulled down the weighty lid, locking it behind her. *** END OF THE PROJECT GUTENBERG EBOOK VIRGIN GROUND *** 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.