The Project Gutenberg eBook of Waste Not, Want 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: Waste Not, Want Author: Dave Dryfoos Illustrator: Kelly Freas Release date: November 7, 2009 [eBook #30416] Language: English Credits: Produced by Greg Weeks, Stephen Blundell and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK WASTE NOT, WANT *** Produced by Greg Weeks, Stephen Blundell and the Online Distributed Proofreading Team at http://www.pgdp.net [Illustration: _Illustrated by Kelly Freas_] WASTE NOT, WANT _Eat your spinach, little man! It's good for you. Stuff yourself with it. Be a good little consumer, or the cops will get you.... For such is the law of supply and demand!_ BY DAVE DRYFOOS Panic roused him--the black imp of panic that lived under the garish rug of this unfamiliar room and crawled out at dawn to nudge him awake and stare from the blank space to his left where Tillie's gray head should have been. His fists clenched in anger--at himself. He'd never been the sort to make allowance for his own weakness and didn't propose to begin doing so now, at age eighty-six. Tillie'd been killed in that crash well over a year ago and it was time he got used to his widowerhood and quit searching for her every morning. But even after he gave himself the bawling out, orientation came slowly. The surroundings looked so strange. No matter what he told himself it was hard to believe that he was indeed Fred Lubway, mechanical engineer, and had a right to be in this single bed, alone in this house his Tillie had never seen. The right to be there was all wrong. He disliked the house and hated all its furnishings. The cybernetic cooker in the kitchen; the magnetically-suspended divans in the living room; the three-dimensional color broadcasts he could so readily project to any wall or ceiling; the solartropic machinery that would turn any face of the pentagonal house into the sun or the shade or the breeze; the lift that would raise the entire building a hundred feet into the air to give him a wider view and more privacy--all left him dissatisfied. They were new. None had been shared with Tillie. He used them only to the extent required by law to fulfill his duty as a consumer. "You must change your home because of the change in your family composition," the Ration Board's bright young female had explained, right after Tillie's funeral. "Your present furnishings are obsolete. You must replace them." "And if I don't?" He'd been truculent. "I doubt we'd have to invoke the penalties for criminal underconsumption," she'd explained airily. "There are plenty of other possible courses of action. Maybe we'd just get a decision that you're prematurely senile and unable to care for yourself. Then you'd go to a home for the aged where they'd _help_ you consume--with forced feedings and such." So here he was, in this home-of-his-own that seemed to belong to someone else. Well, at least he wasn't senile, even if he did move a little slowly, now, getting out of bed. He'd warm up soon. All by himself. With no one's help. And as far as these newfangled gadgets in the bathroom were concerned, he could follow any well-written set of directions. He'd scalded himself that time only because the printed instructions were so confusing. He took a cold shower this time. When the airtowel had finished blowing and he was half dry--not wholly dry because the machine wasn't adapted to people who took ice-cold showers--he went in to the clothing machine. He punched the same few holes in its tape that he put there every day, stood in the right place, and in due course emerged with his long, rawboned frame covered by magenta tights having an excessively baggy seat. He knew the costume was neither pretty nor fashionable and that its design, having been wholly within his control when he punched the tape, revealed both his taste and his mood. He didn't care; there was no one in the world whom he wanted to impress. He looked in the dressing room mirror not to inspect the tights but to examine his face and see if it needed shaving. Too late he remembered that twenty years had elapsed since the permanent depilatories were first invented and ten since he'd used one and stopped having to shave. There were too many changes like that in this gadget-mad world; too many new ways of doing old things. Life had no stability. He stalked into the kitchen wishing he could skip breakfast--anger always unsettled his stomach. But everyone was required to eat at least three meals a day. The vast machine-records system that kept track of each person's consumption would reveal to the Ration Board any failure to use his share of food, so he dialed Breakfast Number Three--tomato juice, toast, and coffee. The signal-panel flashed "Under-Eating" and he knew the state machine-records system had advised his cybernetic cooker to increase the amount of his consumption. Chin in hands, he sat hopelessly at the kitchen table awaiting his meal, and in due course was served prunes, waffles, bacon, eggs, toast, and tea--none of which he liked, except for toast. He ate dutifully nevertheless, telling himself he wasn't afraid of the ration-cops who were always suspecting him of underconsumption because he was the tall skinny type and never got fat like most people, but that he ate what the cooker had given him because his father had been unemployed for a long time during the depression seventy-five years before, so he'd never been able to bring himself to throw food away. Failure to consume had in the old days been called "overproduction" and by any name it was bad. So was war--he'd read enough about war to be glad that form of consumption had finally been abolished. Still it was a duty and not a pleasure to eat so much, and a relief to get up and put the dirty dishes into the disposal machine and go up topside to his gyro. * * * * * Disgustingly, he had a long wait before departure. After climbing into the gyro and transmitting his flight plan, he had to sit seething for all of fifteen minutes before the Mount Diablo Flight Control Center deigned to lift his remote-controlled gyro into the air. And when the signal came, ascent was so awkwardly abrupt it made his ears pop. He couldn't even complain. The Center was mechanical, and unequipped to hear complaints. It routed him straight down the San Joaquin Valley--a beautiful sight from fifteen thousand feet, but over-familiar. He fell asleep and awakened only when unexpectedly brought down at Bakersfield Field. Above his instrument panel the printing-receiver said "Routine Check of Equipment and Documents. Not Over Five Minutes' Delay." But it could take longer. And tardiness was subject to official punishments as a form of unproductiveness. He called George Harding at the plant. Harding apparently had been expecting the call. His round bluff face wore a scowl of annoyance. "Don't you ever watch the newscasts?" he demanded angrily. "They began this 'Routine Check' you're in at five this morning, and were broadcasting pictures of the resulting traffic jam by six. If you'd filed a flight plan for Santa Barbara and come on down the coast you'd have avoided all this." "I'm not required to listen to newscasts," Fred replied tartly. "I own the requisite number of receivers and--" "Now, listen, Fred," Harding interrupted. "We need you down here so hurry up!" Fred heard him switch off and sat for a moment trembling with rage. But he ended by grinning wryly. Everyone was in the same boat, of course. For the most part, people avoided thinking about it. But he could now see himself as if from above, spending his life flitting back and forth between home and plant, plant and home; wracking his brain to devise labor-saving machines while at the plant, then rushing home to struggle with the need to consume their tremendous output. Was he a man? Or was he a caged squirrel racing in an exercise-wheel, running himself ragged and with great effort producing absolutely nothing? He wasn't going to do it any longer, by golly! He was going to-- "Good morning!" A chubby young man in the pea-green uniform of a ration-cop opened the door and climbed uninvited into the cockpit. "May I check the up-to-dateness of your ship's equipment, please?" Fred didn't answer. He didn't have to. The young officer was already in the manual pilot's seat, checking the secondary controls. In swift routine he tried motor and instruments, and took the craft briefly aloft. Down again, he demanded Fred's papers. The licenses that pertained to the gyro were in order, but there was trouble over Fred's personal documents: his ration-book contained far too few sales-validations. "You're not doing your share of consuming, Oldtimer," the young cop said mildly. "Look at all these unused food allotments! Want to cause a depression?" "No." "Man, if you don't eat more than this, we'll have mass starvation!" "I know the slogans." "Yes, but do you know the penalties? Forced feeding, compulsory consumption--do you think they're fun?" "No." "Well, you can file your flight plan and go, but if you don't spend those tickets before their expiration dates, Mister, you'll have cause to regret it." With a special pencil, he sense-marked the card's margins. Fred felt that each stroke of the pencil was a black mark against him. He watched in apprehensive silence. The young cop was also silent. When finished he wordlessly returned the identification, tipped his cap, and swaggered off, his thick neck red above his green collar. Fred found he'd had more than enough of swaggering young men with beefy red necks. That added to his disgust with the constant struggle to produce and consume, consume and produce. Vague, wishful threats froze as determination: he absolutely wasn't going through any more of it. He filed a flight plan that would return him to his home, and in due course arrived there. The phone rang in his ears as he opened the cockpit. He didn't want to answer, and he stayed on the roof securing the gyro and plugging in its battery-charger. But he couldn't ignore the bell's insistent clamor. When he went downstairs and switched on the phone, George Harding's round face splashed on the wall. "Fred," he said, "when we talked a few hours ago, you forgot to say you were sick. I phoned to confirm that for the Attendance Report. Did this call get you out of bed?" He could see it hadn't. Therefore Fred knew he must be recording the audio only, and not the video; trying to give him a break with the Attendance people and coach him on the most appeasing answers. A well-meant gesture, but a false one. And Fred was fed up with the false. "I forgot nothing," he said bluntly. "I'm perfectly well and haven't been near bed." "Now, wait," George said hastily. "It's no crime to be sick. And--ah--don't say anything you wouldn't want preserved for posterity." "George, I'm not going to play along with you," Fred insisted. "This business of producing to consume and consuming to produce has got me down. It's beyond all reason!" "No, it isn't. You're an excellent mechanical engineer, Fred, but you're not an economist. That's why you don't understand. Just excuse me for a minute, and I'll show you." He left the field of view. Fred waited incuriously for him to return, suddenly conscious of the fact that he now had nothing better to do with his time. George was back in less than a minute, anyhow. "O.K.," he said briskly. "Now, where were we? Oh, yes. I just wanted to say that production is a form of consumption, too--even the production of machine-tools and labor-saving devices. So there's nothing inconsistent--" "What are you trying to do?" Fred demanded. "Don't lecture me--I know as much econ as you do!" "But you've got to come back to work, Fred! I want you to use your rations, put your shoulder to the wheel, and conform generally. The policing's too strict for you to try anything else, fella--and I like you too well to want to see you--" "I don't need you to protect me, George," Fred said stiffly. "I guess you mean well enough. But goodbye." He switched off. * * * * * The silence struck him. Not a sound stirred the air in that lonely new house except the slight wheeze of his breathing. He felt tired. Bone weary. As if all the fatigues of his eighty-six years were accumulated within him. He stood by a window and stared blindly out. Everyone seemed to have been heckling him, shoving him around, making him change all his ways every minute. He didn't want to change. He didn't want to be forever adapting to new gadgets, new fads, new ways of doing things. He thought of the villages of India, substantially unchanged for three, four, five thousand years. The villagers had no money, so they couldn't be consumers. Maybe they had the natural way to live. Statically. Also, frugally. But no. It was too frugal, too static. He'd heard and read too much about the starvation, pestilence, peonage and other ills plaguing those Indian villagers. They didn't have life licked, either. The Indians had not enough, the Americans, too much. One was as bad as the other. And he was in the middle. He left the window he'd been staring from unseeingly and walked to the foyer control-panel. There he pushed the button that would cause the house to rear a hundred feet into the air on its titanium-aluminum plunger. Then he went back to the window to watch the ground recede. He felt a hand on his shoulder. He decided the sensation was an illusion--a part of his state of mind. A young man's voice said, "Mr. Lubway, we need you." That was a nice thing to hear, so Fred turned, ready to smile. He didn't smile. He was confronted by another ration-cop. This one was a tall young man, dark and hefty. He seemed very kindly, in his official sort of way. "Mr. George Harding sent me," he explained. "He asked us to look you up and see if we could help." "Yes?" "You seem to have been a little unhappy this morning. I mean--well--staring out that window while your house rises dangerously high. Mr. George Harding didn't like the mood you're in, and neither do I, Mr. Lubway. I'm afraid you'll have to come to the hospital. We can't have a valuable citizen like you falling out that window, can we?" "What do you mean, 'valuable citizen'? I'm no use to anybody. There's plenty of engineers, and more being graduated every semester. You don't need me." "Oh, yes, we do!" Shaking his head, the young ration-cop took a firm grip on Fred's right biceps. "You've got to come along with me till your outlook changes, Mr. Lubway." "Now, see here!" Fred objected, trying unsuccessfully to twist free of the officer's grip. "You've no call to treat me like a criminal. Nor to talk to me as if I were senile. My outlook won't change, and you know it!" "Oh, yes, it will! And since you're neither criminal nor senile, that's what has to be done. "We'll do it in the most humane way possible. A little brain surgery, and you'll sit in your cage and consume and consume and consume without a care in the world. Yes, sir, we'll change your outlook! "Now, you mustn't try to twist away from me like that, Mr. Lubway. I can't let you go. We need every consumer we can get." Transcriber's Note: This etext was produced from _If Worlds of Science Fiction_ September 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Minor spelling and typographical errors have been corrected without note. *** END OF THE PROJECT GUTENBERG EBOOK WASTE NOT, WANT *** 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.