## The Project Gutenberg eBook of "Quite wild animals"

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: "Quite wild animals"

Author: Beatrice Curtis Brown

Release date: November 9, 2025 [eBook #77207]

Language: English

Original publication: New York: Dodd, Mead and Company, 1923

Credits: Charlene Taylor, Tom Trussel and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK "QUITE WILD ANIMALS" ***

# “QUITE WILD ANIMALS”

BY
BEATRICE CURTIS BROWN

NEW YORK
DODD, MEAD AND COMPANY
1923

Copyright, 1923,
By DODD, MEAD & COMPANY, Inc.
PRINTED IN U. S. A.

VAIL-BALLOU COMPANY
BINGHAMTON AND NEW YORK

TO
ENID

[Pg 1]

## GROWP

[Pg 2]

[Pg 3]GROWP

This is Growp. He is rather dangerous and can run faster than any one else when he is angry, which he often is, so most people keep away from him as much as possible.

If you look at the picture you will see that he has a beak and two wings, but otherwise he is quite an ordinary animal, so for a long time he did not know what to call himself, a beast or a bird. At last a friend said to him, “Why don’t you call yourself a birst?” So that is what he does now.

Growp lives in a large wet and muddy field all alone. He has built himself a house out of old tins and broken saucers that people have thrown at him. It is a most ugly house and has no windows, but he thinks it is very beautiful and no one dares to contradict him.

He has hardly any friends and those he does have do not come to see him very much, because he cannot taste anything, on account of his beak (no one with a beak can, you know, and that is why they eat queer things like worms), so he is very apt to eat his visitors. He says he is getting lonely but I don’t believe him. I think he means he is getting hungry.

[Pg 5]

## DOOLYBOO

[Pg 6]

[Pg 7]DOOLYBOO
Oh gaze on Doolyboo awhile,
Observe her sweet and winning smile,
Admire the way she lifts her feet,
And see how clean she is, and neat.
She’s always asked to tea or dine
Because her manners are so fine;
Where’er she drinks from glass or cup
She puts her little finger up:
She’s always clean of paw and face
And waves her tail in dainty grace.
She never shouts or stamps her feet,
She knows that would be indiscreet,
But always laughs when jokes are made,
And quite agrees with all that’s said.
She is the best beloved of all,
By each and every animal,
They like to have her come to play
They’re sorry when she goes away.
Oh, let us all then try to be
As sweet and rosy-cheeked as she.

[Pg 9]

## BAWGUM

[Pg 10]

[Pg 11]BAWGUM

This is Bawgum. In spite of his fierce expression, he is perfectly safe and has the softest possible heart, but he likes to be thought terrifying and dangerous. Unfortunately nobody really believes he is after they have seen his tail which is most playful and undignified. However, it hurts his feelings to be told that he has a playful tail, so people generally pretend they don’t notice it.

Bawgum talks a good deal because he thinks he has rather a fine voice, and the words he uses are so long that his friends always bring dictionaries when they come to tea with him. Some one said that he started a word one Sunday and was still saying it when they came to see him next Sunday, but I think this must be a joke.

He is rather fat and the doctor has recently told him that he ought to eat nothing but tadpoles for at least three months, but after Bawgum had been eating tadpoles for three days there were no more left in the country, so now he has gone back to his usual diet. I believe the doctor has told him to try skipping every morning after breakfast (for he is really anxious to get thin, he thinks it would make him look more dignified). I am afraid he will find it rather difficult to skip, but he[Pg 12] is going to try it for he has asked two friends to come and turn the skipping rope for him.

[Pg 13]

## QUEEK

[Pg 14]

[Pg 15]QUEEK

This is Queek. He is the laziest of all the animals and every year he is getting fatter and fatter, although his legs still remain weak and wobbly because he never uses them.

Years ago, when he was young, Queek used to be quite active, and one day he built himself a house. It was in the hot weather on a specially hot day, so when he had finished it (all except the front door) he sat down on the flower-bed outside his dining-room window and leaned against the wall. He found it so comfortable sitting against the wall of his house in the sun that he simply could not find the energy to get up. He did not go to bed, neither did he get up for breakfast the next morning. In fact to make a long story short, he has been sitting there ever since.

So he has never been inside his little house that he built so carefully that morning, and his cousin the Skutch cleans it out thoroughly every month and also comes round at mealtimes and passes out Queek’s food to him through the window.

His only worry is the front door, which he feels ought to be put on because the dust blows in and makes the hall carpet so dirty. However, every one else says they[Pg 16] are much too busy to spend time on a house that no one lives in, and Queek seems to think that he will never do it, so he will probably go on worrying about it for a very long time. And I think it serves him right.

It seems sad to think of him sitting there on the flower-bed all his life, but he says he is perfectly happy and comfortable, specially since his last birthday when the animals gave him a big umbrella to keep him dry in the wet weather. So perhaps we don’t need to pity him.

[Pg 17]

## GORRIBLE

[Pg 18]

[Pg 19]GORRIBLE

Gorrible is an extremely nice creature though not beautiful. He is always tired, for his feet each weigh about as much as an omnibus with three people inside, one on top, the driver and the conductor, and the conductor’s little “ting” thing altogether. So it is a terrible effort for him to walk. When he is asked out to tea he has to start several days beforehand and take a little tent to sleep in at nights while he is getting there, because his progress is so slow. After every five steps (one with each foot and one jump) he has to sit down and rest. Also he suffers terribly from flies in the summer. They will settle on the middle of his back, and he has been trying to switch them off with his tail for nearly thirty-seven years now. I don’t believe he will ever succeed.

You would hardly think to look at him that he received a medal once for rescuing some one. It was like this. One day Doolyboo, who has a bad habit of not looking what her feet are doing, walked into a pond. She cannot swim and her cries for help were pitiful to hear. Now it just happened that Gorrible was on his way to a Garden Party at Queek’s and was camping near[Pg 20] the river so that he could have water with which to make his morning tea. He heard Doolyboo cry out and without waiting to put on his goloshes he rushed to the river. (When I say “rushed” I mean he went as fast as he could, he took six steps and two jumps between each rest and got to the water’s edge in about ten minutes). He plunged in and swam out to Doolyboo and said to her, “Catch hold of my tail—only don’t pull too hard—and breathe outwards.” Then he swam in and gave Doolyboo a nice hot drink and told her to look where she was going next time. Now Sloot says this wasn’t anything to make a fuss about because the water wasn’t deep anyway, and it is certainly true that Doolyboo was only wet to the top of her ankles, but Sloot is a mean, cowardly animal, and I think it was a perfectly splendid act of bravery for Gorrible to perform.

[Pg 21]

## THE BOLLA

[Pg 22]

[Pg 23]THE BOLLA

This is Bolla. He has had rather a sad life. To begin with, years ago, he ate too much at a birthday party and was terribly ill for many months. When he was better, he took a vow that he would never eat rich food again, so now he feeds entirely on those light, airy feathers (one for breakfast, two for dinner, and one for tea) that you sometimes see floating about the room after the bed has been made up. So although he looks bulgy he is quite empty and perfectly resembles a balloon. This is a great trouble to him. He just cannot keep on the ground, but with the slightest puff of wind he is taken up and has to float till the breeze drops and he is allowed to alight gently on the ground probably miles from where he started.

Many years ago, before the birthday party, when he was still a young and handsome animal, he fell in love with a beautiful young damsel-animal and the marriage was arranged to take place in the spring. This was the autumn and between the engagement and the wedding occurred the birthday party. So when the great day arrived, Bolla had become the light airy creature he is now. However his bride loved him so much she didn’t[Pg 24] mind. But poor Bolla! Just as the wedding march began, a breeze arose and he was borne aloft and wafted away, very far away indeed, because the breeze became a hurricane, and lasted for three days and he was set down in an entirely new country, and he has never been able to find his way back to his bride since. He is terribly miserable about this, and has never smiled since that day, although he is very kind and still makes jokes in a melancholy way, so that his friends won’t feel depressed when they are with him. He has no fixed home, because he would not be able to settle down in one, but he carries a clean white paper-bag with him to sleep in in case he is wafted far away from any shelter and has to spend the night outdoors.

[Pg 25]

## GOLOPHOS

[Pg 26]

[Pg 27]GOLOPHOS

This is Golophos. He was meant to be a respectable size but his neck forgot to stop growing and by the time it had reached the end he felt he must have a head to suit it. So he does not quite fit himself.

He is not very much liked by the rest of the animals because he is so proud and superior. He thinks that because he can see over all their heads that he knows a great deal more than the rest of them. He always wears this supercilious expression.

Now if he had chosen to be nice, he could have made a fortune by letting little animals slide down his neck at five cents a slide. Their parents would have been only too glad to give them a quarter to get them out of the way. But Golophos felt it would be beneath his dignity to let the little ones use him as a place of entertainment, so now he has to go without sugar because he has no money to buy it with.

He lives in a beautiful house with electric lights and hot and cold water, but there are only three walls to it. This is because he is too big to get through a door so he had to have one wall taken down or he could not have [Pg 28]got into the house at all. Of course this means that every one can see what he is doing inside, but he does not mind that because he is sure that every one admires him so much. It is just like him to have a name like that. He says it is Greek but it isn’t. He won’t let people call him Phossy for short.

[Pg 29]

## SQUILLY-WIGGLE

[Pg 30]

[Pg 31]SQUILLY-WIGGLE

The Squilly-wiggle has tried to make up for his lack of dignity by putting a hyphen in the middle of his name. The rest of the animals think it is very conceited of him and try to leave it out when they write him letters, but he has had it put on his calling cards, so there it is.

He is worried always because he never knows quite where his legs are going to take him. He gives them directions every morning and they always start out for the right place, but often just as they arrive at the door of his destination, they turn round and go galloping off to somewhere entirely different. He tries hard to control them but it is very difficult for him, for he is more leg than anything else, except perhaps neck, and that is rather a hindrance than a help because it makes his head so far off from his legs. His tail is entirely neutral and does not help either way. The result of all this is that he is very much aware if he should try and be too firm with his legs they might refuse to work altogether. They have threatened to do this. So he walks all day with his head turned round this way, [Pg 32]backwards, so that his legs will not take him somewhere by surprise. They (the legs) are always indicating that they think he should buy a car, so that they would not have to do any more work. They cannot speak in words but they show this feeling by stopping and pointing at a car whenever they see one. This often makes it very difficult for Squilly when he is crossing the road in the crowded traffic, but they have no consideration for his feelings.

Of course his friends say that he simply is not firm enough and that he has no will power. “Just look at his chin,” they say. But personally I sympathize with him and am going to get up a subscription to buy him a motorcycle. I do not know how he will fit himself on to one. Perhaps he can have a side car attached for his neck.

He lives in a bath tub that has been turned upside down. He has it fitted up very comfortably with electric lights and cushions and he warms himself on the hot tap.

[Pg 33]

## SLOOT

[Pg 34]

[Pg 35]SLOOT

The Sloot, which is the name of this animal, is a really horrid creature. His mother, I should add, calls him Bertie. He is not supposed to get into this book at all, but as you can see if you look at the picture, it is very difficult to tell whether he is going or coming, and I made the mistake of thinking he was going, and he wasn’t at all.

He is not even sincerely horrid like Growp so you cannot get any enjoyment out of him by throwing broken saucers at him and then seeing if you can get safely away, as you can with the other. He is shy and soft spoken, in fact he has taken to speaking with a lisp of a peculiar kind because he thinks it makes him sound innocent. He is trying hard to get taken into society among the other animals and has learnt to play the harp in the hope that people will ask him to entertain their guests after dinner.

These are some of his bad habits. He does not wash, he only pretends to, and sometimes just wets the parts that show; also he listens behind keyholes and reads other people’s letters, and he treads on old gentlemen’s toes for [Pg 36]spite, and then tries to look as if some one else had done it and says, “Really, how can people be so rude!”

In fact he is no gentleman, and never will be. And just look at his tail.

[Pg 37]

## BLUMPLEBY

[Pg 38]

[Pg 39]BLUMPLEBY

This is Blumpleby. His friends call him Peewit because it pleases him. He is very old, no one can remember when he was young, it was so long ago. He is not a very pleasant person because he has no manners. He only says “Hey” when you speak to him, unless you are talking about meals when he becomes very interested. His table manners are disgusting. Once he tried to eat peas with his fingers and got into a terrible mess because he had taken too much gravy on the same plate. If you look at his hands you will see he ought never to use them if he can use a fork instead, but he always does.

Some one said he had not had a bath for three years, eight months and four days, but I hope this is not true.

He lives in a mud hut which has only one room and no furniture. He used to have some chairs, but whenever he sat on them the seats fell through, and the legs doubled up, so he has given up trying to sit on anything except the floor.

He spends most of his time reading old newspapers which he eats when he has read. He believes that if he [Pg 40]eats enough he will soon know everything in the world. He has been eating them for years, however, and the only remark he ever makes is still “Hey,” so I don’t think his plan is very successful.

I must tell you that he is very vain and all round the walls of his mud hut are hung pictures of himself when he was young—at least he says they are, but as some of them are quite handsome most people do not believe he is speaking the truth.

[Pg 41]

## SKOONK

[Pg 42]

[Pg 43]SKOONK

The Skoonk has a very sad story. To begin with he only eats sea-shells because he has a weak indigestion, and as a result he has become terribly thin. He is nearly always cold too. But what is worst is that he is hardly ever allowed to talk. Somehow the diet of sea-shells has made his voice shrill and squeaky, like the sound of a knife scraped on a plate. So whenever he starts to talk the rest of the animals say, as politely as they can but very quickly, “Oh, please stop!” And if he goes on they are apt to throw things at him. This is not because they do not love him, for he is gentle and well-bred, but they just cannot bear his voice. So now he never talks, he writes hundreds of letters. His friends have given him a typewriter, and he sits in his house all day and writes to them, one after another. He tells them what the weather is like, and if the water was hot for his bath, and what he wants to have for his next birthday. Sometimes he gives a party and for these occasions he puts up a big blackboard in the drawing-room with “How do you do? I am glad to see you. Help yourself to tea,” written on it. Then he does not [Pg 44]have to say a word but just smiles and shakes hands. Many people who can speak quite well have taken up the idea from him because they think it saves so much trouble.

He lives in a little house of dark red brick with purple tiles which his friends built for him because they felt sorry for him. (It was one day after they had thrown a brick at him.)

On the whole he doesn’t have a bad time really. He looks pathetic in the picture because it was taken on a day when the rest were all going to sing at a concert. Of course he was not allowed to, and he did want to so much. However he was allowed to sell programs and that made him feel happy again.

[Pg 45]

## PUFFTUFFIN

[Pg 46]

[Pg 47]PUFFTUFFIN

This is a truly kindly animal. He is all soft except for his head, his legs and his shirtfront, and people like to fall about on him when he is near because he is so soft and comfortable to land on. In the winter he earns his living as a sort of stove, people come and warm their hands on him when it is cold and they have lost their gloves. He only charges half-price to children.

He was unfortunately born without any legs and for many years he tried to get about by rolling. But when it was wet his nice soft fuzz stuck to the pavement and got dirty, besides making it difficult for him to get along. So quite late in life he decided to grow some legs. He took some Ambulatory Pills after meals every day for three weeks and presently the legs began to appear. But when they had grown a few inches he thought he noticed something queer about them. As he was not accustomed to legs, he went around with them to a friend (it was to Skutch because he had taken some pills to grow arms and had succeeded very well). The friend looked at them and said,

“When did you take those pills?”

Pufftuffin said, “After meals every day.”

[Pg 48]

“Oh dear, what have you done?” said the friend, “They ought to have been taken before meals. Now you will always be knock-kneed because they will grow out the wrong way.”

And that is what happened. Pufftuffin tried taking all sorts of other pills, eating them frantically before meals, but it was too late. All he could do was to make his feet turn out the right way, and as they are the bottom of his legs, I hardly think it was an improvement. However, they are perfectly good for walking with even on wet days.

[Pg 49]

## SKUTCH

[Pg 50]

[Pg 51]SKUTCH

This is usually called Skutch. He is hoping you will think him quite grown-up and that is why he is standing in such a peculiar attitude. I tried to persuade him to put both feet on the ground while he was being drawn because he kept falling about when he was standing this way, but he would not because he thought he looked more interesting this way. People meeting him for the first time might think he was conceited but he really isn’t—at least not much. He is always teased by his brothers because he is so tall and that has made him rather shy and silent. His great ambition is to be a coat-of-arms when he is grown up and he goes to a studio to practise for this every day. You will see he has two rather darling little hands in two pockets. Now none of the rest of his family have hands—they never have—but he thought they were rather smart things to have so he grew a pair and had some pockets made so that he could put them inside, like this. He can’t use his hands for anything except ornament.

He feeds on self-filling fountain pens with the tops on and unsharpened pencils. He doesn’t like sharpened [Pg 52]ones because the points stick in his throat and if anything gets stuck in his throat there is no room for anything to pass it. He has to be very careful about his diet. Once some one made him swallow a box of golfballs for a joke. The lid of the box came off just as it got half-way down his neck, and all the balls came out at once. His appearance was completely altered for some days, and his throat has been rather sore ever since.

[Pg 53]

## SPINICUM

[Pg 54]

[Pg 55]SPINICUM

A long time ago the Spinicum had two tails. It was his chief claim to social distinction, which means that people invited him out to parties and teas simply because he had two tails, and that started a cheerful conversation when the guests were shy or the tea was late in coming up. He wore his tails on either side of him instead of at the back, and every Saturday he used to curl them with a hot toasting-fork so that he would look smart on Sunday. I do not know why he used a toasting-fork instead of ordinary curling irons, I think it was because he liked the peculiar wave that the fork produced.

One day he was invited to a party and went up to his room to get ready and curl his tails. He could not find the fork anywhere. He ran up and down the house and looked in the cupboards and on the shelves and all the time the clock went on ticking till there were only five minutes left before the party began. Then he saw his nephew was in the garden digging potatoes with it. By the time he had got hold of it and had started to curl it was very late indeed. So he boldly cut off the right hand tail because he did not have time to curl it, and put [Pg 56]it on his dressing-table, expecting to sew it on when he came home.

But he never saw his tail again. While he was gone his little nephew took it out to play “dressing up” with it. He was having a lovely time pretending he was his uncle, when a very noisy dog rushed up to him and ran away with the tail in his teeth. Little nephew was too frightened to run after the dog and it was never seen again.

So ever since that day, Spinicum always walks looking at the pavement, hoping that the dog may have dropped the tail by now and that he will find it sometime lying in the dust. Meanwhile he has grown a beard, or has tried to, and hopes it will make up for the tail. But it doesn’t at all.

[Pg 57]

## SHIMMYHONK

[Pg 58]

[Pg 59]SHIMMYHONK

The Shimmyhonk is a lady as you can see by her smile and dainty steps. She is rather vain and thinks a good deal of her appearance. She is not very attractive, for one thing it is a matter of doubt whether she has any body. Spiteful people have been heard to say that where she isn’t neck she is leg, and vice versa, but I am glad to say that Shimmyhonk has never heard anybody say this for it would hurt her feelings.

She gives music lessons to the younger animals on the piano and harp. In fact she is the only animal who knows how to play any instrument (except Sloot, who does not count), so she has to play for all the parades and concerts that are given. She likes playing at concerts because she has a most elegant bow that she is able to give on those occasions.

Another thing she likes is having her photograph taken. She has one done every week in a different pose; playing the piano, playing the harp, playing both together, sitting in the garden with a basket of flowers round her neck, reading a book by the open window, pouring tea out of her silver tea-pot. She also collects picture-postcards, [Pg 60]and all the animals know her postcard album very well indeed, because she always gets it out to show to them when they come to tea, before they have been in the house five minutes, and the younger animals look at it while they are waiting for their music lessons.

She is as yet a maiden lady, but it is said that Golophos is rather fond of her, and thinks that she alone of all the animals is genteel enough to be a good wife to him. However he has not said anything about the matter to her yet, and I doubt if he does for a long time, because, in spite of his pride, he is very poor and could not support a wife.

THE END

*** END OF THE PROJECT GUTENBERG EBOOK "QUITE WILD ANIMALS" ***
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.