The Project Gutenberg eBook of Lorelei 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: Lorelei Author: Charles V. De Vet Release date: December 30, 2019 [eBook #61050] Language: English Credits: Produced by Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK LORELEI *** Produced by Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net LORELEI By CHARLES V. DeVET She was everybody's sweetheart--but not every man's at once! [Transcriber's Note: This etext was produced from Worlds of If Science Fiction, September 1961. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] Seven days stranded on Europa. Seven days without hope. The courage that had sustained me, like the numbness after a fatal blow, was beginning to slip away. All that seventh day my nerves balanced on a thin jagged edge. And that night the anamorph visited me in my bubble cubicle. I caught the sheathed rustle of a crinoline skirt and a scent of Peri fragrance, and I knew she had come. Stubbornly I kept my face averted, and tried my best not to think of her. If I did I was lost. My fingers dug into the sponge fabric beneath me until they ached. I sucked breath deep into my lungs and held it. I wanted no visitors. But that of course was why she had come. She had a way of divining who needed her most, the one whose morale was nearest breaking. "Poor Bill," she murmured. She knelt beside me. I felt her forehead press against my temple and a tear--from eyes which I knew would now be a clear candid blue, deep in the shadows, appearing almost black--traced a salty path down my cheek. The wall of my resistance broke. I reached up impulsively and pulled her to me. She was all soft, yielding femininity, live and warm and vibrant, the antidote to the raw need that was like a bleeding wound deep within. Still I tried to resist. I summoned my last dregs of resistance and pushed her roughly from me. I opened my eyes, deliberately keeping my mind locked against her. She swayed back at my shove. I saw that her features had not yet set into the mold she had probed from my mind. Her head was round and shapeless, with doughy white skin and the characterless face of a baby. The auburn mat on her head was loose and coarse, with a consistency that was hair and yet not hair; her body was too thin, too rigid, too stringy. Yet she was Lois. Sweet, gentle, loving Lois, the bride I had left behind on Earth, the girl I would never see again. Lois. My breath came out in a ragged sigh of surrender, and my mind opened to her unconditionally. She altered visibly as I watched. It was too late to go back now. Lois stood before me, full-fleshed and delicately tall, with her rich brown hair curling inward at the ends, and her shapely shoulders all honeyed-gold from the sun. Her supple body was straight, poised and proud, her head back and her breasts pressing against her blouse. Just as I remembered her. I could have sent her away no more than I could have stopped the beat of my heart. "Hi, hon," I whispered. She laughed happily, and sat on the mat beside me and rumpled my hair. We kissed gently, tentatively. I pulled her closer. As we kissed again she kept her eyes open, looking at me sidewards in her fondly teasing way. "It's good to be back, dear," she breathed against my cheek.... Long she lay at my side, regarding me with eyes that were filled with her love, her only movement the throb of a pulse beneath my fingers as they fondled her arched throat. I sighed contentedly. At the moment I was filled with a warm serenity that had quite effectively subdued my anxiety. Once a man let himself go, there was no companion, male or female, who could compare with the anamorph. She caught his every thought, crested the tides of his every mood. She became the idealization of woman, without flaws, formed and molded into a perfection beyond possible actuality, her beauty and desirability greater than any real woman's could ever be. When full rapport had been achieved she was able to keep mentally ahead of a man. She could gauge his every reflex, and match her speech and actions to every subtle anticipation. I felt almost happy then. The tragedy of being stranded here was something apart, and the reality was the delightful woman-creature warm against me ... until at last my passions grew sated with the luxuriance of her charms and I slept. * * * * * In the morning the anamorph was gone. Eight other men had fears that must be eased. She might have spent parts of the night with any one or all of them. The thought would have been distasteful, except that absence made the sense of her less all-pervading. I even experienced a kind of grateful relief. I was able to regard her now, not as the real Lois I wanted, but as merely a source of solace I had badly needed. The anamorph's presence during the night had drained all my pent-up frustrations. I was not happy, but I no longer felt the desperate loneliness and need that had goaded me before. I dressed leisurely and went out into the main compartment of the bubble. Except in the sleeping rooms the plastic walls were transparent. I looked outside at the surface of Europa, covered with a white material I had been told was solid carbon dioxide. A mild storm was brewing. The hydrogen, helium and methane in the atmosphere were colorless, and the argon and krypton too minute to be detected without instruments. But I could see and hear small particles of liquid ammonia as they pattered against the plastic wall. The bubble sagged in several places. But there was no danger of it collapsing. In the space ship galley (to which the bubble had been attached) I found the captain, Mark Burgess, and the anamorph having coffee. She was no longer Lois. Now she was an older woman, with a bit of added weight and thickness. She was still beautiful, but more matronly than she had been as Lois. About her was none of the warm-blooded ardor she had displayed the night before. And no remembrance of it in her eyes. I poured a cup of coffee. "Just how long do you figure we've got?" I asked Burgess. "Mr. Lutscher--" he addressed me by my last name, as was his custom with junior officers--"I will not equivocate. We have fuel enough to furnish us with heat and electricity for well over a year. But our food will last less than two months, even with strict rationing." So there it was. In two months we'd probably all be dead. * * * * * Someone back on Earth had erred badly. In their calculations every item had been gauged closely, as was necessary. But they should have allowed safety margin. The take-off had been calculated nicely. Ships had already been sent to the moon and to Mars. But this was the first trip this far out. We had not intercepted Europa quite as plotted. We had to chase it halfway around Jupiter, and land with the satellite going away, rather than meeting us. After we landed and new calibrations been made, we made a discovery. Our fuel was too short for the return trip. Kohnke was our lone hope. A metallurgist, he knew the properties of the ship's pile. But Kohnke was insane. I had not liked the man from the first. With his nervous, subservient personality, he had been a constant irritant in the confining quarters of the ship. And during the early weeks of the flight I observed the slow dawning of an awful awareness in our weak-charactered member. He was realizing for the first time the prodigious and unpredictable forces to which he had exposed himself. Soon he was convinced of the certainty of death. He did not have the mental stamina to cope with that certainty. When we missed Europa on the first pass, Kohnke's mind cracked. My attention returned to the anamorph. She was staring at me now, her features white and strained. She must have read what I had been thinking of Kohnke. What was there about the crazed man that frightened her so? I wondered again. I went out into the bubble. The rocket man, Andrews and I spent the next several hours adding another compartment to the main room. Andrews fed dirt into the hopper of the converter while I operated the nozzle. This was more difficult than the original bubble had been. Normal air pressure was enough to keep that expanded; but here we had to make supports and rig up an auxiliary vent. Also it was cold near the walls, a cold that sucked at the heat in our bodies; Europa has a mean temperature of -140° Centigrade. When our job was finished I left Andrews at the door of his cubicle. I glanced back and saw that he hadn't gone in. He was standing with his head down and his shoulders slumped. Andrews I had always regarded as an extrovert, and a good man. He was big, active and almost always cheerful. Even his bald head seemed to add to his masculine virility. He had a vast fund of stories. Everyone liked him. I suspected, however, that his bland acceptance of our predicament was not all it seemed. He was an instinctive psychologist. He was doing his part to keep up the spirits of the rest of us. In my judgment Andrews was quite a man. But now his capacity for dissimulating had apparently reached its limit. At that moment a woman-form drifted past me from the ship. The anamorph had come to perform her self-appointed duty. She was a robust woman now with a body designed for love-making, the wide-hipped form made to propagate the race with healthy offspring. Her dress was cut low at the neck, innocently immodest. Andrews looked up, still brooding. It was he who had discovered the anamorph, the second day after our landing. Where she had come from, or how she had gotten through the plastic wall without rupturing it, we never did learn. She had had this identical form when Andrews found her. The anamorph began to dance. A slow, languid pirouetting. The sound of a wordless crooning song reached me. The tempo of her dance heightened and her wide green skirt came up around her waist, exposing fair thighs. Andrews grunted and shifted position. Abruptly he reached out and grasped her wrist. "Come here, baby," he said hoarsely. The anamorph kicked and squealed in mock protest as Andrews swept her off her feet and into his arms, but she made no real effort to free herself as he strode with her into his compartment. * * * * * The next morning when I stopped in with Kohnke's breakfast I found him wearing a gold crown. With strictly amateur knowledge, I had diagnosed his illness as schizophrenia, and this latest display seemed to confirm the diagnosis. Now he had escaped harsh reality into a world of his own, a world where he was obviously a personage of considerable eminence. Kohnke smiled at me and greeted me condescendingly. I went along with his delusion. If I were to help him it was good that he accepted me as part of his world. I sat at his feet and made as one of the unseen audience he was addressing. I was wryly amused a few minutes later when I understood who he thought he was. However, it was the gold crown that fascinated me. Where had he gotten it? There could be only one answer. And if what I suspected was true, there were startling implications. I had to speak again soon with the anamorph.... She did not keep me waiting. I returned to my compartment. The pseudo-Lois entered soon after and stretched out indolently on my cot. "You wanted to see me, Bill?" Incongruously I found myself staring at her low-heeled shoes, the ones she always wore when we danced at the Prom. I restrained the impulse to take her in my arms. "I saw the crown you made for Kohnke," I said carefully, making a special effort to keep my inner thoughts hidden. "It's beautiful." "Thank you." Those simple words meant much to me. I had succeeded in getting her to admit that she had made the crown. Which meant we still had a chance! "Then you'll be able to make the fuel we need," I said casually. Her expression became wary, shifting instantly to petulance. She reached over and put one hand on my arm. "Why do you want to leave me, Bill?" * * * * * I tried to explain, but she couldn't or wouldn't understand. I tried another tack. "Why are you afraid of Kohnke?" I asked. My theory was that she did not understand insanity, and so her inability to follow the illogical thought processes of the demented man frightened her. "He is so intelligent," she startled me by saying. "He's crazy," I protested. "What is crazy?" "His reasoning faculties do not function properly." She seemed to be reading my thoughts carefully, trying to understand better what I meant. After a minute she smiled and her teeth showed white and even against her tan. "Isn't it possible that his mind works too swiftly for you to follow, and the only way you can explain your lack of understanding is to say that he is insane?" So that was why she feared Kohnke. To her he was a brilliant intellect. So great that she could neither understand nor influence him as she did the others of us. His aborted reasoning, his sudden shifts of interest, his small concern with a situation that aroused our distress, were all evidence of that superior intellect. I did not try to disabuse her of the belief. It fitted well with my semi-formed plan. "He is like the Masters," the anamorph interrupted my thoughts. I quickly took up the diversion she offered: I did not want her to see what lay in my thoughts. Also she had aroused my curiosity. "Who are the Masters?" I asked. "I'm not certain. I think...." Her voice trailed off. "I'm never too sure that what I'm thinking are my own thoughts, or what I'm reading in your mind, or have read in others," she said. "Perhaps if I looked away from you.... "Many years ago the Masters landed on this small world to make repairs on the meteor shield of their space ship," she began again in a low voice. "They were passing through this part of the Galaxy on their way home from a distant planet. I belonged to one of them. For some reason they left me behind when they went away." She stopped talking, saddened by the recollection of her desertion. I saw her in a new light then. She had been a pet, a plaything, who perhaps had strayed just before ship leaving time. She nodded, smiling brightly. "A pet," she exclaimed, clapping her hands. "That is right." I realized then, with mild astonishment, that she was not very intelligent. Her apparent wit and sharpness before had been only reflections of what she read in our minds. "Are you all Kohnke's pets?" she caught me unprepared. I coughed uncomfortably, and shook my head. * * * * * Her mood changed. "I've been so lonesome, Bill. When I do not belong to someone I am so unhappy. But I won't be unhappy anymore." For the first time I felt sorry for her. "Bill?" Her voice was timid. "Do you believe I will be punished for leaving the Masters? I did not mean to." "Who would punish you now?" I asked. "The Masters' God. They always told me he would punish me if I were bad. And he is such a terrible God." Her expression became bright with hope. "Is your God terrible, Bill?" I tried to reassure her, to pacify this naive creature with her own private terrors, but she must have read in my mind how our Christian God could also be terrible in his wrath and justice, for she gave a small cry and pulled herself close to me. Several minutes went by while she trembled in my arms and wept disconsolately. Finally she quieted and in a young girl's voice asked, "May I use your hanky, daddy?" In surprise I held her out from me and saw that now she was my daughter, Joanie, with her newly bobbed hair, and her sweet face still wet with tears. Of course. While I held her I had been thinking of her as a child. As my child, Joanie. I wiped away her tears and blew her nose. I thought swiftly. Perhaps this was my opportunity. Speaking as I would have to Joanie I asked gently, "Won't you help us get the fuel we need, honey?" "I can't." Her childish wistfulness was replaced by the stubbornness I had encountered before. I was careful to restrain my impatience. "You could come with us to Earth," I argued, without raising my voice. "You wouldn't be lonesome there." "I couldn't live that long out of the sun," she answered. "How did you live on the Master's ship?" I asked. "They could bring the sunlight inside. You can't." "Isn't there any way we could keep you alive?" I asked. She shook her head. Which left nothing except my desperate plan. * * * * * Burgess made the preparations I requested, without question, and I returned to Kohnke. It took me some time to get him in the frame I wanted. When he began to blubber, "I want to go home, I want to go home," I led him from the ship. The anamorph was outside, as I knew she would be. The men were all in the ship. I bowed deeply to Kohnke and turned to the anamorph. "He would speak with you," I said impressively. Her eyes widened with apprehension. I was not concerned about her reading my thoughts now. What she read in Kohnke's mind would be more believable to her. "We must have fuel!" I shouted at Kohnke. "She can give it to us!" I pointed at the anamorph. "Command her!" Kohnke concentrated his wild gaze on the girl and mouthed something inaudible. The anamorph drew back. Her features seemed to lose their character, to be melting together. This was the critical moment. "Tell her about your Father," I commanded. His lips writhed damply and he began again his inarticulate muttering. The anamorph cried out plaintively and covered her face with her hands. I shifted my attention to the pile of soil I had asked Burgess to prepare. It quivered, flattened ... and hardened into six fuel ingots! Twenty minutes later we were in space. Our last glimpse of the anamorph was the dejected figure of a small girl, standing alone in the middle of the bubble. She had had to obey Kohnke, of course. For she believed what she read in his mind. And Kohnke thought he was the Son of God. *** END OF THE PROJECT GUTENBERG EBOOK LORELEI *** 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.