The Project Gutenberg eBook of 2 B R 0 2 B 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: 2 B R 0 2 B Author: Kurt Vonnegut Release date: May 3, 2007 [eBook #21279] Most recently updated: January 2, 2021 Language: English Credits: Produced by Robert Cicconetti, Geetu Melwani and the Online Distributed Proofreading Team at https://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK 2 B R 0 2 B *** Produced by Robert Cicconetti, Geetu Melwani and the Online Distributed Proofreading Team at https://www.pgdp.net 2_B_R_0_2_B By Kurt Vonnegut, Jr. Transcriber note: This etext was produced from Worlds of If, January 1962. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Got a problem? Just pick up the phone. It solved them all--and all the same way! 2 B R 0 2 B by KURT VONNEGUT, JR. Everything was perfectly swell. There were no prisons, no slums, no insane asylums, no cripples, no poverty, no wars. All diseases were conquered. So was old age. Death, barring accidents, was an adventure for volunteers. The population of the United States was stabilized at forty-million souls. One bright morning in the Chicago Lying-in Hospital, a man named Edward K. Wehling, Jr., waited for his wife to give birth. He was the only man waiting. Not many people were born a day any more. Wehling was fifty-six, a mere stripling in a population whose average age was one hundred and twenty-nine. X-rays had revealed that his wife was going to have triplets. The children would be his first. Young Wehling was hunched in his chair, his head in his hand. He was so rumpled, so still and colorless as to be virtually invisible. His camouflage was perfect, since the waiting room had a disorderly and demoralized air, too. Chairs and ashtrays had been moved away from the walls. The floor was paved with spattered dropcloths. The room was being redecorated. It was being redecorated as a memorial to a man who had volunteered to die. A sardonic old man, about two hundred years old, sat on a stepladder, painting a mural he did not like. Back in the days when people aged visibly, his age would have been guessed at thirty-five or so. Aging had touched him that much before the cure for aging was found. The mural he was working on depicted a very neat garden. Men and women in white, doctors and nurses, turned the soil, planted seedlings, sprayed bugs, spread fertilizer. Men and women in purple uniforms pulled up weeds, cut down plants that were old and sickly, raked leaves, carried refuse to trash-burners. Never, never, never--not even in medieval Holland nor old Japan--had a garden been more formal, been better tended. Every plant had all the loam, light, water, air and nourishment it could use. A hospital orderly came down the corridor, singing under his breath a popular song: If you don't like my kisses, honey, Here's what I will do: I'll go see a girl in purple, Kiss this sad world toodle-oo. If you don't want my lovin', Why should I take up all this space? I'll get off this old planet, Let some sweet baby have my place. The orderly looked in at the mural and the muralist. "Looks so real," he said, "I can practically imagine I'm standing in the middle of it." "What makes you think you're not in it?" said the painter. He gave a satiric smile. "It's called 'The Happy Garden of Life,' you know." "That's good of Dr. Hitz," said the orderly. * * * * * He was referring to one of the male figures in white, whose head was a portrait of Dr. Benjamin Hitz, the hospital's Chief Obstetrician. Hitz was a blindingly handsome man. "Lot of faces still to fill in," said the orderly. He meant that the faces of many of the figures in the mural were still blank. All blanks were to be filled with portraits of important people on either the hospital staff or from the Chicago Office of the Federal Bureau of Termination. "Must be nice to be able to make pictures that look like something," said the orderly. The painter's face curdled with scorn. "You think I'm proud of this daub?" he said. "You think this is my idea of what life really looks like?" "What's your idea of what life looks like?" said the orderly. The painter gestured at a foul dropcloth. "There's a good picture of it," he said. "Frame that, and you'll have a picture a damn sight more honest than this one." "You're a gloomy old duck, aren't you?" said the orderly. "Is that a crime?" said the painter. The orderly shrugged. "If you don't like it here, Grandpa--" he said, and he finished the thought with the trick telephone number that people who didn't want to live any more were supposed to call. The zero in the telephone number he pronounced "naught." The number was: "2 B R 0 2 B." It was the telephone number of an institution whose fanciful sobriquets included: "Automat," "Birdland," "Cannery," "Catbox," "De-louser," "Easy-go," "Good-by, Mother," "Happy Hooligan," "Kiss-me-quick," "Lucky Pierre," "Sheepdip," "Waring Blendor," "Weep-no-more" and "Why Worry?" "To be or not to be" was the telephone number of the municipal gas chambers of the Federal Bureau of Termination. * * * * * The painter thumbed his nose at the orderly. "When I decide it's time to go," he said, "it won't be at the Sheepdip." "A do-it-yourselfer, eh?" said the orderly. "Messy business, Grandpa. Why don't you have a little consideration for the people who have to clean up after you?" The painter expressed with an obscenity his lack of concern for the tribulations of his survivors. "The world could do with a good deal more mess, if you ask me," he said. The orderly laughed and moved on. Wehling, the waiting father, mumbled something without raising his head. And then he fell silent again. A coarse, formidable woman strode into the waiting room on spike heels. Her shoes, stockings, trench coat, bag and overseas cap were all purple, the purple the painter called "the color of grapes on Judgment Day." The medallion on her purple musette bag was the seal of the Service Division of the Federal Bureau of Termination, an eagle perched on a turnstile. The woman had a lot of facial hair--an unmistakable mustache, in fact. A curious thing about gas-chamber hostesses was that, no matter how lovely and feminine they were when recruited, they all sprouted mustaches within five years or so. "Is this where I'm supposed to come?" she said to the painter. "A lot would depend on what your business was," he said. "You aren't about to have a baby, are you?" "They told me I was supposed to pose for some picture," she said. "My name's Leora Duncan." She waited. "And you dunk people," he said. "What?" she said. "Skip it," he said. "That sure is a beautiful picture," she said. "Looks just like heaven or something." "Or something," said the painter. He took a list of names from his smock pocket. "Duncan, Duncan, Duncan," he said, scanning the list. "Yes--here you are. You're entitled to be immortalized. See any faceless body here you'd like me to stick your head on? We've got a few choice ones left." She studied the mural bleakly. "Gee," she said, "they're all the same to me. I don't know anything about art." "A body's a body, eh?" he said. "All righty. As a master of fine art, I recommend this body here." He indicated a faceless figure of a woman who was carrying dried stalks to a trash-burner. "Well," said Leora Duncan, "that's more the disposal people, isn't it? I mean, I'm in service. I don't do any disposing." The painter clapped his hands in mock delight. "You say you don't know anything about art, and then you prove in the next breath that you know more about it than I do! Of course the sheave-carrier is wrong for a hostess! A snipper, a pruner--that's more your line." He pointed to a figure in purple who was sawing a dead branch from an apple tree. "How about her?" he said. "You like her at all?" "Gosh--" she said, and she blushed and became humble--"that--that puts me right next to Dr. Hitz." "That upsets you?" he said. "Good gravy, no!" she said. "It's--it's just such an honor." "Ah, You... you admire him, eh?" he said. "Who doesn't admire him?" she said, worshiping the portrait of Hitz. It was the portrait of a tanned, white-haired, omnipotent Zeus, two hundred and forty years old. "Who doesn't admire him?" she said again. "He was responsible for setting up the very first gas chamber in Chicago." "Nothing would please me more," said the painter, "than to put you next to him for all time. Sawing off a limb--that strikes you as appropriate?" "That is kind of like what I do," she said. She was demure about what she did. What she did was make people comfortable while she killed them. * * * * * And, while Leora Duncan was posing for her portrait, into the waitingroom bounded Dr. Hitz himself. He was seven feet tall, and he boomed with importance, accomplishments, and the joy of living. "Well, Miss Duncan! Miss Duncan!" he said, and he made a joke. "What are you doing here?" he said. "This isn't where the people leave. This is where they come in!" "We're going to be in the same picture together," she said shyly. "Good!" said Dr. Hitz heartily. "And, say, isn't that some picture?" "I sure am honored to be in it with you," she said. "Let me tell you," he said, "I'm honored to be in it with you. Without women like you, this wonderful world we've got wouldn't be possible." He saluted her and moved toward the door that led to the delivery rooms. "Guess what was just born," he said. "I can't," she said. "Triplets!" he said. "Triplets!" she said. She was exclaiming over the legal implications of triplets. The law said that no newborn child could survive unless the parents of the child could find someone who would volunteer to die. Triplets, if they were all to live, called for three volunteers. "Do the parents have three volunteers?" said Leora Duncan. "Last I heard," said Dr. Hitz, "they had one, and were trying to scrape another two up." "I don't think they made it," she said. "Nobody made three appointments with us. Nothing but singles going through today, unless somebody called in after I left. What's the name?" "Wehling," said the waiting father, sitting up, red-eyed and frowzy. "Edward K. Wehling, Jr., is the name of the happy father-to-be." He raised his right hand, looked at a spot on the wall, gave a hoarsely wretched chuckle. "Present," he said. "Oh, Mr. Wehling," said Dr. Hitz, "I didn't see you." "The invisible man," said Wehling. "They just phoned me that your triplets have been born," said Dr. Hitz. "They're all fine, and so is the mother. I'm on my way in to see them now." "Hooray," said Wehling emptily. "You don't sound very happy," said Dr. Hitz. "What man in my shoes wouldn't be happy?" said Wehling. He gestured with his hands to symbolize care-free simplicity. "All I have to do is pick out which one of the triplets is going to live, then deliver my maternal grandfather to the Happy Hooligan, and come back here with a receipt." * * * * * Dr. Hitz became rather severe with Wehling, towered over him. "You don't believe in population control, Mr. Wehling?" he said. "I think it's perfectly keen," said Wehling tautly. "Would you like to go back to the good old days, when the population of the Earth was twenty billion--about to become forty billion, then eighty billion, then one hundred and sixty billion? Do you know what a drupelet is, Mr. Wehling?" said Hitz. "Nope," said Wehling sulkily. "A drupelet, Mr. Wehling, is one of the little knobs, one of the little pulpy grains of a blackberry," said Dr. Hitz. "Without population control, human beings would now be packed on this surface of this old planet like drupelets on a blackberry! Think of it!" Wehling continued to stare at the same spot on the wall. "In the year 2000," said Dr. Hitz, "before scientists stepped in and laid down the law, there wasn't even enough drinking water to go around, and nothing to eat but sea-weed--and still people insisted on their right to reproduce like jackrabbits. And their right, if possible, to live forever." "I want those kids," said Wehling quietly. "I want all three of them." "Of course you do," said Dr. Hitz. "That's only human." "I don't want my grandfather to die, either," said Wehling. "Nobody's really happy about taking a close relative to the Catbox," said Dr. Hitz gently, sympathetically. "I wish people wouldn't call it that," said Leora Duncan. "What?" said Dr. Hitz. "I wish people wouldn't call it 'the Catbox,' and things like that," she said. "It gives people the wrong impression." "You're absolutely right," said Dr. Hitz. "Forgive me." He corrected himself, gave the municipal gas chambers their official title, a title no one ever used in conversation. "I should have said, 'Ethical Suicide Studios,'" he said. "That sounds so much better," said Leora Duncan. "This child of yours--whichever one you decide to keep, Mr. Wehling," said Dr. Hitz. "He or she is going to live on a happy, roomy, clean, rich planet, thanks to population control. In a garden like that mural there." He shook his head. "Two centuries ago, when I was a young man, it was a hell that nobody thought could last another twenty years. Now centuries of peace and plenty stretch before us as far as the imagination cares to travel." He smiled luminously. The smile faded as he saw that Wehling had just drawn a revolver. Wehling shot Dr. Hitz dead. "There's room for one--a great big one," he said. And then he shot Leora Duncan. "It's only death," he said to her as she fell. "There! Room for two." And then he shot himself, making room for all three of his children. Nobody came running. Nobody, seemingly, heard the shots. The painter sat on the top of his stepladder, looking down reflectively on the sorry scene. * * * * * The painter pondered the mournful puzzle of life demanding to be born and, once born, demanding to be fruitful ... to multiply and to live as long as possible--to do all that on a very small planet that would have to last forever. All the answers that the painter could think of were grim. Even grimmer, surely, than a Catbox, a Happy Hooligan, an Easy Go. He thought of war. He thought of plague. He thought of starvation. He knew that he would never paint again. He let his paintbrush fall to the dropcloths below. And then he decided he had had about enough of life in the Happy Garden of Life, too, and he came slowly down from the ladder. He took Wehling's pistol, really intending to shoot himself. But he didn't have the nerve. And then he saw the telephone booth in the corner of the room. He went to it, dialed the well-remembered number: "2 B R 0 2 B." "Federal Bureau of Termination," said the very warm voice of a hostess. "How soon could I get an appointment?" he asked, speaking very carefully. "We could probably fit you in late this afternoon, sir," she said. "It might even be earlier, if we get a cancellation." "All right," said the painter, "fit me in, if you please." And he gave her his name, spelling it out. "Thank you, sir," said the hostess. "Your city thanks you; your country thanks you; your planet thanks you. But the deepest thanks of all is from future generations." END *** END OF THE PROJECT GUTENBERG EBOOK 2 B R 0 2 B *** 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.