The Project Gutenberg EBook of The Fotygraft Album, by Frank Wing

This eBook is for the use of anyone anywhere 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


Title: The Fotygraft Album
       Shown to the New Neighbor by Rebecca Sparks Peters Aged Eleven

Author: Frank Wing

Illustrator: Frank Wing

Release Date: September 4, 2005 [EBook #16639]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK THE FOTYGRAFT ALBUM ***




Produced by Juliet Sutherland, Melissa Er-Raqabi and the
Online Distributed Proofreading Team at https://www.pgdp.net.






cover

"The Fotygraft Album"

Shown to the New Neighbor by
Rebecca Sparks Peters
Aged Eleven

stamp

Drawings and Text by

Frank Wing

Chicago
The Reilly & Britton Co.

Copyright, 1915
by
The Reilly & Britton Co.

First Edition Published May 7, 1915
Second Edition Published Aug. 23, 1915
Third Edition Published Nov. 10, 1915
Fourth Edition Published Dec. 15, 1915
Fifth Edition Published Jan. 5, 1916
Sixth Edition Published May 1, 1916
Seventh Edition Published Sept. 1, 1916

"TURN OVER"

"Why, how d'do, Mrs. Miggs? Come right on in. Ma's jist run over t' Smith's a minute t' borruh some thread and some m'lasses and a couple uh aigs. Aw! yes, come on—she'll be right back. Let's see: S'pose we set on th' sofa and I'll show yuh th' album, so's yuh'll kinda begin t' know some of our folks. We like t' be real neighborly and make new folks feel t' home. There! now we're fixed.

"This here first one's ma when she was little. Ain't she cute? Her Uncle Seth kep' a store up t' Davenport and he give her them furs. Real mink, I think it was.

"Turn over."

This here first one's ma when she was little.

"That's Aunt Mary Jane Darnell. Her jimpson-weed salve and peach perserves was th' best he ever see, pa says. She couldn't abide a man that primped."

That's Aunt Mary Jane Darnell.

"Them's grampa and gramma Sparks, ma's pa and ma. Grampa liked bees and made lots of money off'm honey. He was awful good t' gramma.

"Ma says you kin allus trust a bee man."

Them's grampa and gramma Sparks, ma's pa and ma.

"Here's Ferdinand Ashur Peebles, a favorite cousin of ma's. He ain't got much time fer them 't ain't so good as what he is, so pa don't like him so very well. Says he's a hippercrit. One time ma was showin' this pitchure t' somebody and she says, 'This is a boy we're proud of: Cousin Ferd, full of good works—' 'and prunes,' pa puts in, and it made ma awful mad.

"Turn over."

Here's Ferdinand Ashur Peebles, a favorite cousin of ma's.

"Them's pa's pa and ma, grampa 'n' gramma Peters. Jist look at her feet! All her folks toes in—even pa, some, but he denies it. Grampa's got a turribul temper. Onct he was up in a tree a-sawin' out limbs and a little branch scratched him onto his head and he turned round quick's a wink, a-snarlin', and bit it right smack off. Fact!"

Them's pa's pa and ma, grampa 'n' gramma Peters.

"That's Sophrony Ann Gowdey, kind of a distant cousin of ma's. She's gifted weth th' secont sight. Onct when grampa lost his false teeth they called her in and she set right here in this room and tranced and after a bit she woke up suddent and says, wild like, 'Seek ye within th' well!' she says; so they done it, but they didn't find 'm. But only a week afterwards, when they cleaned th' cistern, there them teeth was. Pa says, 'Well, anyhow, Phrony knowed they was in th' damp,' he says.

"Turn over."

That's Sophrony Ann Gowdey, kind of a distant cousin of ma's.

"That's Uncle Mel Burgstresser. Don't he look like Charles Dickens, th' great Scotch poet, though? I think he does, exactly. He's ma's uncle, but he's sich a nice man that even pa likes him. They can't nobody help likin' him, he's so nice; but ever'body laughs at him, he says sich blunderin' things sometimes. Onct when Aunt Alviny (that's his wife) was a-makin' oyster soup, Uncle Mel he come and looked over her shoulder and says, 'Put lots o' water in it, mother, 'cause I'm hungry,' he says.

"Turn over."

That's Uncle Mel Burgstresser.

"That's my cousin, Willie Sparks, same age as me—but not when that pitchure was took. He wasn't only 9 then. Don't he look awful meek? But mebbe you think he ain't got a temper! One time when his pa come home from work after dark and Willie ain't got his chores done, he scolded him, and when Willie brung in th' coal fer th' kitchen stove he was cryin' and he jist hauls off, he's s' mad, and kicks th' stove an awful welt, and says, 'Yuh will burn coal, will yuh!' he says.

"Turn over."

That's my cousin, Willie Sparks.

"That's ma's cousin, Rebecca, and her man, took th' day they was married. Him and her quarreled somethin' awful, she gener'ly havin' th' upper hand. I was named after her."

That's ma's cousin, Rebecca, and her man, took th' day they was married.

"That there's Peletiah Parrett, a friend of pa's since they was boys. He's a singin' school teacher and he's been to our house lots of times, but he lives at Ohio. He kin sing awful good. You'd jist ort t' hear him sing—well, I fergit what th' name of th' piece is but it goes like this:

"'Three dretful groans he heered
And then her ghost appeared
From head t' foot besmeared
Weth purple gore.'"
That there's Peletiah Parrett, a friend of pa's since they was boys.

"Pa's cousin Stella, dressed up in some of her ma's old clothes fer a mask ball. Pa drawed in that streak and that printin'. He's a reg'lar artist and he ain't never had a lesson in his life, neither.

"He calls this pitchure 'Stella as Ajax defyin' th' lightnin'!'"

Pa's cousin Stella, dressed up in some of her ma's old clothes fer a mask ball.

"Here's Deacon Samuel Phillips. He married ma's greatuncle Myron's widow, but I don't know what relation that makes him t' us. He's an awful good man, but clost. Pa says onct he got an awful jolt t' Chicago, where him and some other men went t' sell their stock. It seems that after they got their tradin' done they went down town t' one of them stylish hotels fer dinner. Deacon hadn't never been in one of them places before and didn't know nothin' 'bout 'm. There was breaded veal cutlets on th' bill-of-fare and Deacon liked 'm, so he ordered 'm, along with a lot of other stuff, without noticin' th' price. Bimeby th' bill come, and it was fer two-fifty. 'Two-fifty!' the deacon hollers. 'Why Heck! man, I kin buy a calf fer that money!' he says.

"Turn over."

Here's Deacon Samuel Phillips.

"Ma's cousins, Delmer and Beezum Morse. 'Th' Sausage Brothers,' pa calls 'm, 'count of their shape. But they're awful stout, and good rasslers, both of 'm, 'specially th' littlest one, Delmer. Onct him and Beezum got t' rasslin' in th' parlor and Delmer throwed Beezum in th' coal box and broke his rib."

Ma's cousins, Delmer and Beezum Morse.

"That's pa's Aunt Amanda Merritt Burrows. Me and my brother Frank allus run and hide when we see her comin', 'cause she allus kisses a feller and wants 'm t' pick her some berries, or somethin'. That's her long suit, though, as pa says—berries. Pa says she won't be happy in parrydise without they've got berries there; says he bets there'll be a great old scramblin' amongst th' angels, too, t' keep from gittin' kissed.

"Turn over."

That's pa's Aunt Amanda Merritt Burrows.

"Ed and Charley Peters, pa's cousins down t' Peory. They're th' stylishest relations we got."

Ed and Charley Peters, pa's cousins down t' Peory.

"Wilbur Peebles, that is. He's ma's cousin. Ain't he got funny hair? One time he went t' sleep in meetin' and pa took and done up his hair weth yalluh ribbons off'm cigars. Pa says Wilbur looked awful comical—jist like a horse's mane at th' fair. And Wilbur's awful absent minded. Onct he was t' our house alone and he decided he'd go down town, so he left a note t' let ma know. It said, 'Gone down town. Will be back at five. Have hid key under mat.' Wasn't that silly?

"Turn over."

Wilbur Peebles, that is.

"That's my little cousin, Johnnie Aiken, down t' Brimfield. Ain't he cute? He's jist th' worst little feller t' ast questions yuh ever see. And th' funniest ones! Onct th' persidin' elder was t' their house and he hadn't no more'n said th' blessin' till Johnnie ups and says, 'Say, pa, how fur kin a cat spit?' he says."

That's my little cousin, Johnnie Aiken, down t' Brimfield.

"That's Aunt Minervy Hopkins, pa's aunt. She believed in sperrits.

"Turn over."

That's Aunt Minervy Hopkins, pa's aunt.

"Uncle Jed Doty and his wife, Aunt Phoebe. He's ma's half-brother and he's an awful good singer. Ust t' travel weth Doc Lighthall. He's handsome, too, I think; but Aunt Phoebe ain't very. Ma says she ust t' be awful purty till after she had th' rheumatism s' bad, but pa says he guesses she must a-had it before ever he see her."

Uncle Jed Doty and his wife, Aunt Phoebe.

"Cousin Willie Peebles, a nice little feller, but funny. That there jaw ain't swelled. Jist nacherul. Pa says Willie's th' mumpiest lookin' boy he ever see."

Cousin Willie Peebles, a nice little feller, but funny.

"Uncle Charley Sparks, that is. He's awfully witty. Onct when Aunt Kate said she liked a clock fer company, its tick was s' comfortin', and gramma said she liked a dog better, Uncle Charley he ups and says, 'Would yuh want th' dog t' have ticks, ma?' he says.

"Turn over."

Uncle Charley Sparks, that is.

"That's Uncle Abner Sedley. He's th' most stubborn person in our fambly, even if he is a preacher. One time last winter he got awful mad at a church meetin' 'cause things didn't go his way and stomped out, yellin', 'My hands is clear; I wash my skirts of th' whole matter!' he says. Then he found he'd fergot his specs and he had t' sneak back in and git 'm, weth ever'body snickerin'. I guess he felt purty cheap.

"Turn over."

That's Uncle Abner Sedley.

"That's my cousin, Edna Sparks. She ain't very smart and she's got a voice that's a terror to snakes, but her ma thinks she kin sing and's allus sickin' her on t' do it. Pa says onct th' silly thing says when her ma was urgin' her before comp'ny, 'Aw, ma, I can't sing, my hands is chapped.' I don't believe she ever done it, though. Jist another of pa's jokes, I bet.

"Turn over."

That's my cousin, Edna Sparks.

"That's ma's brother, Uncle Billy Sparks. Ain't he handsome? Jist take a look at them eyes. And he's smart, too—smart as Uncle Charlie, purty nigh. Onct his mother-in-law come t' see 'em and staid a long time and was awful cross and Uncle Billy got tired of it and took and put a wad of cotton in her ear trumpet so she couldn't hear a thing, and she thought she was goin' plumb deef and left that day fer home to see her doctor. Wasn't that cute of him?"

That's ma's brother, Uncle Billy Sparks.

"That there's ma's greatuncle Peter. He was awful well off, and proud of it. Onct when th' minister was raisin' money t' pay fer th' new church he preached and he preached, right at Uncle Pete, purty nigh, and bimeby Uncle Pete he got up from his front corner seat and turned round toward th' people and hollered, 'I'll give another hunderd dollars t' th' Lord, and yuh all know I kin pay it!' he says.

"Turn over."

That there's ma's greatuncle Peter.

"That's Uncle Jerry Sparks, ma's brother. He was a lieutenant of artil'ry. Pa says ef he was a rebel and seen Uncle Jerry comin' weth that 'spression onto his mug he wouldn't only hit th' high places."

That's Uncle Jerry Sparks, ma's brother.

"That's Evans Billhorn, a cousin of ma's by his first wife. He ust t' keep a butcher shop down t' Peory and he was so strong he could throw down a steer. Onct pa made a mistake talkin' t' Evans. Evans was a-braggin' 'bout how he could rassle, and pa ups and says, 'Huh! you couldn't throw nothin' but a fit,' he says. Say! it never took less 'n two doctors t' fix all th' things about pa that was broke."

"Still, Evans is most awful clumsy, too. One time when he was t' our house he knocked off a real cluny vase of ma's and broke it and his wife says, 'Evans Billhorn, th' next time I take you anywheres I'll crate yuh!' she says. Pa kep' a piece of that vase fer a long time. 'Pore feller suff'rer,' he called it.

"Turn over."

That's Evans Billhorn, a cousin of ma's by his first wife.

"That's Perfessor Tweedie. He teaches penmanship and he knows Shakespeare better 'n, old Mahomet knowed th' Koran, pa says. Ain't he a hairy feller, though? Onct him 'n Frank Mendenhall was a-doin' Brutus and Cassius wrapped up in sheets in Liberty Hall and when Prof says, 'Here is muh dagger and here muh naked breast,' pa hollers out, 'Git a shave, Prof!' Well, sir, it purty nigh busted up th' show."

That's Perfessor Tweedie.

"That's Cousin Flora Burgstresser. She's th' belle of Beardstown. Her hair's so long she kin set on it. Onct a hair tonic company offered her a pile of money—most a hunderd dollars—fer her pitchure fer their adver-tise-ment, but she wouldn't.

"Them society ladies don't like notority."

That's Cousin Flora Burgstresser.

"That's Winfield Scott Zachary Taylor Peebles, ma's cousin. He was named fer two heroes of th' rev-lutionary war, I think it was; anyway, he could allus think of th' noblest things t' say! Onct when he was in th' war an officer died and they put Cousin Win in his place, so that's how he got t' be a corporal. First thing he says was, after th' president or whoever it was give him th' place, 'Boys,' he says, 'if I fall in this day's battle, march over muh dead corpse as you would that of a common private!' he says.

"Turn over."

That's Winfield Scott Zachary Taylor Peebles, ma's cousin.

"Uncle Adoniram Burgstresser, ma's uncle. He was a farmer and hardshell preacher. Onct when ma says, 'Uncle Ad was a power!' pa says, 'Git out! You don't mean power, you mean pow-wower.' That made ma purty mad, I tell you. Uncle Ad was awful clost. One time he went into a hardware store t' git a tin cup and after he'd looked careful at sev'ral he says, 'How much is this one?' 'Nickel,' says th' storekeeper. Then Uncle Ad says, 'I s'pose yuh make th' usual reduction t' th' clergy?' he says.

"Turn over."

Uncle Adoniram Burgstresser, ma's uncle.

"That there's Emma Beale. She's an awful nice, refined lady. Why, one time when her pa was a-runnin' a tailor shop and Emma was workin' there, pa took a pair of pants t' have 'm pressed fer a weddin' and when he went t' git 'm Emma says, 'Mr. Peters,' she says, 'did you know there was a hole in one of th' limbs of yer trousers?' she says. And pa, he jist haw-hawed right in her face, th' old coarse thing!"

That there's Emma Beale.

"I don't know who them fellers are, 'cept that big one in front there. That's Ole Ensgaard. Ust t' be my Uncle Joe's hired man. Afterwards he went up t' Dakota and got 'lected t' th' legislature. Pa says he was awful green and they told him all he'd need t' do was t' write Mr. Jim Hill t' let him know he was there and he'd git a railroad pass. So Ole writes, 'Mester Yim Hill, Sen-ta Pole: Ay ban har—Ole Ensgaard,' and Mr. Hill writes right back: 'Ay ban har, too.—Yim Hill.' Uncle Charley Sparks, he says that there's a stock story. Says he's heard it told about a thousand differ'nt fellers. Ma calls pa and Uncle Charley 'th' arrival wits.' Says they're kinda jealous of each other.

"Turn over."

I don't know who them fellers are, 'cept that big one in front there. That's Ole Ensgaard.

"That there's my cousin, Alvy Burgstresser, weth his cornet. He plays in th' choir. First time pa heard 'm he says when he come home, 'That choir 'll never succeed till they dehorn Alvy,' he says.

"Turn over."

That there's my cousin, Alvy Burgstresser, weth his cornet.

"That's ma's brother-in-law, Livingston Burney, out t' Kansas. He's a doctor, when he ain't out talkin' politics, which ain't often. He don't half pervide fer his fambly and onct his boy run away and went clean t' Chicago to my Aunt Sarah's and when she wrote Burney about it he sent back a sassy letter, sayin', 'I'll have you know, madam, that I'm th' father of th' pop'list party in Kansas.' Aunt Sade set right down and wrote him back, 'If you ain't a better father t' th' party,' she says, 'than you've been t' this boy, the party's in a bad way,' she says."

That's ma's brother-in-law, Livingston Burney, out t' Kansas.

"That's Mrs. Bemrose and her daughter, Lucreshy. They ust t' live neighbors t' us, but now they've moved t' Yates City. Mrs. Bemrose is a daisy musician. You'd jist ort t' hear her sing,

"'Oh, th' dirty little coward
That shot Doctor Howard
And laid Jesse James in his grave.'"
That's Mrs. Bemrose and her daughter, Lucreshy.

"Them's Willie and Freddie Sparks. They was cute little fellers but it's awful t' think th' way they turned out, pa says. Willie's an editor and Freddie's a lawyer, and they work together jist fine. Willie gits into trouble, and Freddie, he gits him out."

Them's Willie and Freddie Sparks.

"Perfessor Leander Crabb, that is. He's principal of th' Ellumwood high school and he's a tumble coffee drinker—two quart a day when he was writin' his book, 'Tokens of Hope, or Is This, Then, All?' Pa, he read th' book through, then he says, 'Well, I hope it is,' he says.

"Turn over."

Perfessor Leander Crabb, that is.

"Them's ma's cousin Peter and his wife and baby, down t' Beardstown. He ain't handsome but he's an awful good man. Pa says onct Cousin Pete was to a party where there was a game t' give a prize t' th' one what'd make th' homeliest face, and th' judge walked right over t' Pete and give him th' prize, and Pete says, supprised like, 'Why, I ain't begun yit,' he says. I reckon it never reely happened; jist one of pa's jokes, I guess.

"Turn over."

Them's ma's cousin Peter and his wife and baby, down t' Beardstown.

"That's Cousin Charlie Freemantle—pa's cousin, he is. He's a rollin' stone—first one place, then another; never satisfied and never gittin' nothin' ahead. He ust t' be allus comin' 'round tellin' where he was goin' next and what big things he was goin' t' do when he got there, till ma got most awful tired of it and says t' him, 'Charlie,' she says, 'did yuh ever reflect that wherever yuh go yuh take yerself weth yuh?' she says.

"Turn over."

That's Cousin Charlie Freemantle—pa's cousin, he is.

"That's Mr. and Mrs. Bundy. He was a nice man but she's quarrelsomer 'n all git out. Don't she look jist like a settin' hen? Onct when Mr. Bundy died why Mrs. Prescott that moved t' Peory she wrote Mrs. Bundy a real nice letter of consolence, I guess it is yuh call it—anyway, Mrs. Bundy fired up, quicker 'n a wink, and says, 'Uh-huh!' she says, 'well, that's all very nice but it don't pay fer that there spade and waterin' pot them Prescotts borruhed off 'm us and never brung back. I'll learn that tribe they can't soft-soap me!' she says.

"Turn over."

That's Mr. and Mrs. Bundy.

"That's Bige Turner. He ust t' work in th' print shop fer pa and he certainly was a bad aig, I want yuh t' know. Onct he slep' out on th' sidewalk in front of th' shop all night and pa took and tacked his clothes down all around and when Bige woke up next day he tried t' git up and couldn't and it scairt him most t' death and he hollered, 'Gosh! help! I'm paralyzed,' he says. 'Oh, no yuh ain't, Bige,' pa says, 'but you was yisteddy.'

"Turn over."

That's Bige Turner.

"That's Aunt Min, pa's sister, when she was a girl. She was awful good lookin'—is yet, fer that matter. But she ain't never been no housekeeper. Onct pa picked up a shirt she'd been mendin' and took a look at it and says, 'I'd hate like thunder t' have t' reap as Min sews,' he says.

"Turn over."

That's Aunt Min, pa's sister, when she was a girl.

"And that's pa, put in last fer 'a Garrison finish,' as he says, whatever that means. Honest, now, he don't look a bit like you thought he would, does he? But you could tell he was a wit, though, couldn't yuh? Jist look at them little, shrewd eyes! This pitchure was took when he was editor of th' Argus, before he made his money out of land and insurance. One time, while he was editin', a publisher sent him an adver-tise-ment of a book that told all about how t' run a newspaper and pa he set right down and wrote 'm back they might as well try t' sell a book of travels t' th' Wanderin' Jew.

"That's all—and there's ma a-comin' up th' walk. We got a bigger album 'n this 'n upstairs, som'ers, though. Come over some time and I'll show yuh that 'n.

"Tah-tah! See yuh later."

And that's pa, put in last fer 'a Garrison finish,' as he says, whatever that means.





End of the Project Gutenberg EBook of The Fotygraft Album, by Frank Wing

*** END OF THIS PROJECT GUTENBERG EBOOK THE FOTYGRAFT ALBUM ***

***** This file should be named 16639-h.htm or 16639-h.zip *****
This and all associated files of various formats will be found in:
        https://www.gutenberg.org/1/6/6/3/16639/

Produced by Juliet Sutherland, Melissa Er-Raqabi and the
Online Distributed Proofreading Team at https://www.pgdp.net.


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions 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-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  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-tm 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-tm License (available with this file or online at
https://gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
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-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm 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-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain 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-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside 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-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm 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 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

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm 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-tm 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-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

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-tm 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-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (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-tm
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-tm 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-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm 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-tm
     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-tm 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-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm 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
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project
Gutenberg-tm 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 F3.  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 MERCHANTIBILITY 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-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm 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-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at https://www.pglaf.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.  Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising.  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 principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread 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 https://pglaf.org

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 including checks, online payments and credit card
donations.  To donate, please visit: https://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility:

     https://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
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.