The Project Gutenberg EBook of The First One, by Herbert D. Kastle

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at

Title: The First One

Author: Herbert D. Kastle

Release Date: January 7, 2008 [EBook #24192]

Language: English

Character set encoding: ISO-8859-1


Produced by Greg Weeks, Mary Meehan and the Online
Distributed Proofreading Team at



Illustrated by von Dongen

[Transcriber's Note: This etext was produced from Analog July 1961. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]


The first man to return from beyond the Great Frontier may be welcomed ... but will it be as a curiosity, rather than as a hero...?

There was the usual welcoming crowd for a celebrity, and the usual speeches by the usual politicians who met him at the airport which had once been twenty miles outside of Croton, but which the growing city had since engulfed and placed well within its boundaries. But everything wasn't usual. The crowd was quiet, and the mayor didn't seem quite as at-ease as he'd been on his last big welcoming—for Corporal Berringer, one of the crew of the spaceship Washington, first to set Americans upon Mars. His Honor's handclasp was somewhat moist and cold. His Honor's eyes held a trace of remoteness.

Still, he was the honored home-comer, the successful returnee, the hometown boy who had made good in a big way, and they took the triumphal tour up Main Street to the new square and the grandstand. There he sat between the mayor and a nervous young coed chosen as homecoming queen, and looked out at the police and fire department bands, the National Guard, the boy scouts and girl scouts, the Elks and Masons. Several of the churches in town had shown indecision as to how to instruct their parishioners to treat him. But they had all come around. The tremendous national interest, the fact that he was the First One, had made them come around. It was obvious by now that they would have to adjust as they'd adjusted to all the other firsts taking place in these—as the newspapers had dubbed the start of the Twenty-first Century—the Galloping Twenties.

He was glad when the official greeting was over. He was a very tired man and he had come farther, traveled longer and over darker country, than any man who'd ever lived before. He wanted a meal at his own table, a kiss from his wife, a word from his son, and later to see some old friends and a relative or two. He didn't want to talk about the journey. He wanted to forget the immediacy, the urgency, the terror; then perhaps he would talk.

Or would he? For he had very little to tell. He had traveled and he had returned and his voyage was very much like the voyages of the great mariners, from Columbus onward—long, dull periods of time passing, passing, and then the arrival.

The house had changed. He saw that as soon as the official car let him off at 45 Roosevelt Street. The change was, he knew, for the better. They had put a porch in front. They had rehabilitated, spruced up, almost rebuilt the entire outside and grounds. But he was sorry. He had wanted it to be as before.

The head of the American Legion and the chief of police, who had escorted him on this trip from the square, didn't ask to go in with him. He was glad. He'd had enough of strangers. Not that he was through with strangers. There were dozens of them up and down the street, standing beside parked cars, looking at him. But when he looked back at them, their eyes dropped, they turned away, they began moving off. He was still too much the First One to have his gaze met.

He walked up what had once been a concrete path and was now an ornate flagstone path. He climbed the new porch and raised the ornamental knocker on the new door and heard the soft music sound within. He was surprised that he'd had to do this. He'd thought Edith would be watching at a window.

And perhaps she had been watching ... but she hadn't opened the door.

The door opened; he looked at her. It hadn't been too long and she hadn't changed at all. She was still the small, slender girl he'd loved in high school, the small, slender woman he'd married twelve years ago. Ralphie was with her. They held onto each other as if seeking mutual support, the thirty-three-year old woman and ten-year-old boy. They looked at him, and then both moved forward, still together. He said, "It's good to be home!"

Edith nodded and, still holding to Ralphie with one hand, put the other arm around him. He kissed her—her neck, her cheek—and all the old jokes came to mind, the jokes of travel-weary, battle-weary men, the and-then-I'll-put-my-pack-aside jokes that spoke of terrible hunger. She was trembling, and even as her lips came up to touch his he felt the difference, and because of this difference he turned with urgency to Ralphie and picked him up and hugged him and said, because he could think of nothing else to say, "What a big fella, what a big fella."

Ralphie stood in his arms as if his feet were still planted on the floor, and he didn't look at his father but somewhere beyond him. "I didn't grow much while you were gone, Dad, Mom says I don't eat enough."

So he put him down and told himself that it would all change, that everything would loosen up just as his commanding officer, General Carlisle, had said it would early this morning before he left Washington.

"Give it some time," Carlisle had said. "You need the time; they need the time. And for the love of heaven, don't be sensitive."

Edith was leading him into the living room, her hand lying still in his, a cool, dead bird lying still in his. He sat down on the couch, she sat down beside him—but she had hesitated. He wasn't being sensitive; she had hesitated. His wife had hesitated before sitting down beside him.

Carlisle had said his position was analogous to Columbus', to Vasco De Gama's, to Preshoff's when the Russian returned from the Moon—but more so. Carlisle had said lots of things, but even Carlisle who had worked with him all the way, who had engineered the entire fantastic journey—even Carlisle the Nobel prize winner, the multi-degreed genius in uniform, had not actually spoken to him as one man to another.

The eyes. It always showed in their eyes.

He looked across the room at Ralphie, standing in the doorway, a boy already tall, already widening in the shoulders, already large of feature. It was like looking into the mirror and seeing himself twenty-five years ago. But Ralphie's face was drawn, was worried in a way that few ten-year-old faces are.

"How's it going in school?" he asked.

"Gee, Dad, it's the second month of summer vacation."

"Well, then, before summer vacation?"

"Pretty good."

Edith said, "He made top forum the six-month period before vacation, and he made top forum the six-month period you went away, Hank."

He nodded, remembering that, remembering everything, remembering the warmth of her farewell, the warmth of Ralphie's farewell, their tears as he left for the experimental flight station in the Aleutians. They had feared for him, having read of the many launchings gone wrong even in continent-to-continent experimental flight.

They had been right to worry. He had suffered much after that blow-up. But now they should be rejoicing, because he had survived and made the long journey. Ralphie suddenly said, "I got to go, Dad. I promised Walt and the others I'd pitch. It's Inter-Town Little League, you know. It's Harmon, you know. I got to keep my word." Without waiting for an answer, he waved his hand—it shook; a ten-year-old boy's hand that shook—and ran from the room and from the house.

He and Edith sat beside each other, and he wanted badly to take her in his arms, and yet he didn't want to oppress her. He stood up. "I'm very tired. I'd like to lie down a while." Which wasn't true, because he'd been lying down all the months of the way back.

She said, "Of course. How stupid of me, expecting you to sit around and make small talk and pick up just where you left off."

He nodded. But that was exactly what he wanted to do—make small talk and pick up just where he'd left off. But they didn't expect it of him; they wouldn't let him; they felt he had changed too much.

She led him upstairs and along the foyer past Ralphie's room and past the small guest room to their bedroom. This, too, had changed. It was newly painted and it had new furniture. He saw twin beds separated by an ornate little table with an ornate little lamp, and this looked more ominous a barrier to him than the twelve-foot concrete-and-barbed-wire fence around the experimental station.

"Which one is mine," he asked, and tried to smile.

She also tried to smile. "The one near the window. You always liked the fresh air, the sunshine in the morning. You always said it helped you to get up on time when you were stationed at the base outside of town. You always said it reminded you—being able to see the sky—that you were going to go up in it, and that you were going to come down from it to this bed again."

"Not this bed," he murmured, and was a little sorry afterward.

"No, not this bed," she said quickly. "Your lodge donated the bedroom set and I really didn't know—" She waved her hand, her face white.

He was sure then that she had known, and that the beds and the barrier between them were her own choice, if only an unconscious choice. He went to the bed near the window, stripped off his Air Force blue jacket, began to take off his shirt, but then remembered that some arm scars still showed. He waited for her to leave the room.

She said, "Well then, rest up, dear," and went out.

He took off his shirt and saw himself in the mirror on the opposite wall; and then took off his under-shirt. The body scars were faint, the scars running in long lines, one dissecting his chest, the other slicing diagonally across his upper abdomen to disappear under his trousers. There were several more on his back, and one on his right thigh. They'd been treated properly and would soon disappear. But she had never seen them.

Perhaps she never would. Perhaps pajamas and robes and dark rooms would keep them from her until they were gone.

Which was not what he'd considered at all important on leaving Walter Reed Hospital early this morning; which was something he found distasteful, something he felt beneath them both. And, at the same time, he began to understand that there would be many things, previously beneath them both, which would have to be considered. She had changed; Ralphie had changed; all the people he knew had probably changed—because they thought he had changed.

He was tired of thinking. He lay down and closed his eyes. He let himself taste bitterness, unhappiness, a loneliness he had never known before.

But sometime later, as he was dozing off, a sense of reassurance began filtering into his mind. After all, he was still Henry Devers, the same man who had left home eleven months ago, with a love for family and friends which was, if anything, stronger than before. Once he could communicate this, the strangeness would disappear and the First One would again become good old Hank. It was little enough to ask for—a return to old values, old relationships, the normalcies of the backwash instead of the freneticisms of the lime-light. It would certainly be granted to him.

He slept.

Dinner was at seven p.m. His mother came; his Uncle Joe and Aunt Lucille came. Together with Edith, Ralphie and himself, they made six, and ate in the dining room at the big table.

Before he'd become the First One, it would have been a noisy affair. His family had never been noted for a lack of ebullience, a lack of talkativeness, and Ralphie had always chosen mealtimes—especially with company present—to describe everything and anything that had happened to him during the day. And Edith herself had always chatted, especially with his mother, though they didn't agree about much. Still, it had been good-natured; the general tone of their lives had been good-natured.

This wasn't good-natured. Exactly what it was he wasn't sure. "Stiff" was perhaps the word.

They began with grapefruit, Edith and Mother serving quickly, efficiently from the kitchen, then sitting down at the table. He looked at Mother as he raised his first spoonful of chilled fruit, and said, "Younger than ever." It was nothing new; he'd said it many many times before, but his mother had always reacted with a bright smile and a quip something like, "Young for the Golden Age Center, you mean." This time she burst into tears. It shocked him. But what shocked him even more was the fact that no one looked up, commented, made any attempt to comfort her; no one indicated in any way that a woman was sobbing at the table.

He was sitting directly across from Mother, and reached out and touched her left hand which lay limply beside the silverware. She didn't move it—she hadn't touched him once beyond that first, quick, strangely-cool embrace at the door—then a few seconds later she withdrew it and let it drop out of sight.

So there he was, Henry Devers, at home with the family. So there he was, the hero returned, waiting to be treated as a human being.

The grapefruit shells were cleaned away and the soup served. Uncle Joe began to talk. "The greatest little development of circular uniform houses you ever did see," he boomed in his powerful salesman's voice. "Still going like sixty. We'll sell out before—" At that point he looked at Hank, and Hank nodded encouragement, desperately interested in this normalcy, and Joe's voice died away. He looked down at his plate, mumbled, "Soup's getting cold," and began to eat. His hand shook a little; his ruddy face was not quite as ruddy as Hank remembered it.

Aunt Lucille made a few quavering statements about the Ladies' Tuesday Garden Club, and Hank looked across the table to where she sat between Joe and Mother—his wife and son bracketed him, and yet he felt alone—and said, "I've missed fooling around with the lawn and the rose bushes. Here it is August and I haven't had my hand to a mower or trowel."

Aunt Lucille smiled, if you could call it that—a pitiful twitching of the lips—and nodded. She threw her eyes in his direction, and past him, and then down to her plate. Mother, who was still sniffling, said, "I have a dismal headache. I'm going to lie down in the guest room a while." She touched his shoulder in passing—his affectionate, effusive mother who would kiss stray dogs and strange children, who had often irritated him with an excess of physical and verbal caresses—she barely touched his shoulder and fled.

So now five of them sat at the table. The meat was served—thin, rare slices of beef, the pink blood-juice oozing warmly from the center. He cut into it and raised a forkful to his mouth, then glanced at Ralphie and said, "Looks fresh enough to have been killed in the back yard." Ralphie said, "Yeah, Dad." Aunt Lucille put down her knife and fork and murmured something to her husband. Joe cleared his throat and said Lucille was rapidly becoming a vegetarian and he guessed she was going into the living room for a while. "She'll be back for dessert, of course," he said, his laugh sounding forced.

Hank looked at Edith; Edith was busy with her plate. Hank looked at Ralphie; Ralphie was busy with his plate. Hank looked at Joe; Joe was chewing, gazing out over their heads to the kitchen. Hank looked at Lucille; she was disappearing into the living room.

He brought his fist down on the table. The settings jumped; a glass overturned, spilling water. He brought it down again and again. They were all standing now. He sat there and pounded the table with his big right fist—Henry Devers, who would never have thought of making such a scene before, but who was now so sick and tired of being treated as the First One, of being stood back from, looked at in awe of, felt in fear of, that he could have smashed more than a table.

Edith said, "Hank!"

He said, voice hoarse, "Shut up. Go away. Let me eat alone. I'm sick of the lot of you."

Mother and Joe returned a few minutes later where he sat forcing food down his throat. Mother said, "Henry dear—" He didn't answer. She began to cry, and he was glad she left the house then. He had never said anything really bad to his mother. He was afraid this would have been the time. Joe merely cleared his throat and mumbled something about getting together again soon and "drop out and see the new development" and he, too, was gone. Lucille never did manage to speak to him.

He finished his beef and waited. Soon Edith came in with the special dessert she'd been preparing half the day—a magnificent English trifle. She served him, and spooned out a portion for herself and Ralphie. She hesitated near his chair, and when he made no comment she called the boy. Then the three of them were sitting, facing the empty side of the table. They ate the trifle. Ralphie finished first and got up and said, "Hey, I promised—"

"You promised the boys you'd play baseball or football or handball or something; anything to get away from your father."

Ralphie's head dropped and he muttered, "Aw, no, Dad."

Edith said, "He'll stay home, Hank. We'll spend an evening together—talking, watching TV, playing Monopoly."

Ralphie said, "Gee, sure, Dad, if you want to."

Hank stood up. "The question is not whether I want to. You both know I want to. The question is whether you want to."

They answered together that of course they wanted to. But their eyes—his wife's and son's eyes—could not meet his, and so he said he was going to his room because he was, after all, very tired and would in all probability continue to be very tired for a long, long time and that they shouldn't count on him for normal social life.

He fell asleep quickly, lying there in his clothes.

But he didn't sleep long. Edith shook him and he opened his eyes to a lighted room. "Phil and Rhona are here." He blinked at her. She smiled, and it seemed her old smile. "They're so anxious to see you, Hank. I could barely keep Phil from coming up and waking you himself. They want to go out and do the town. Please, Hank, say you will."

He sat up. "Phil," he muttered. "Phil and Rhona." They'd had wonderful times together, from grammar school on. Phil and Rhona, their oldest and closest friends. Perhaps this would begin his real homecoming.

Do the town? They'd paint it and then tear it down!

It didn't turn out that way. He was disappointed; but then again, he'd also expected it. This entire first day at home had conditioned him to expect nothing good. They went to the bowling alleys, and Phil sounded very much the way he always had—soft spoken and full of laughter and full of jokes. He patted Edith on the head the way he always had, and clapped Hank on the shoulder (but not the way he always had—so much more gently, almost remotely), and insisted they all drink more than was good for them as he always had. And for once, Hank was ready to go along on the drinking. For once, he matched Phil shot for shot, beer for beer.

They didn't bowl very long. At ten o'clock they crossed the road to Manfred's Tavern, where Phil and the girls ordered sandwiches and coffee and Hank went right on drinking. Edith said something to him, but he merely smiled and waved his hand and gulped another ounce of nirvana.

There was dancing to a juke box in Manfred's Tavern. He'd been there many times before, and he was sure several of the couples recognized him. But except for a few abortive glances in his direction, it was as if he were a stranger in a city halfway around the world.

At midnight, he was still drinking. The others wanted to leave, but he said, "I haven't danced with my girl Rhona." His tongue was thick, his mind was blurred, and yet he could read the strange expression on her face—pretty Rhona, who'd always flirted with him, who'd made a ritual of flirting with him. Pretty Rhona, who now looked as if she were going to be sick.

"So let's rock," he said and stood up.

They were on the dance floor. He held her close, and hummed and chatted. And through the alcoholic haze saw she was a stiff-smiled, stiff-bodied, mechanical dancing doll.

The number finished; they walked back to the booth. Phil said, "Beddy-bye time."

Hank said, "First one dance with my loving wife."

He and Edith danced. He didn't hold her close as he had Rhona. He waited for her to come close on her own, and she did, and yet she didn't. Because while she put herself against him, there was something in her face—no, in her eyes; it always showed in the eyes—that made him know she was trying to be the old Edith and not succeeding. This time when the music ended, he was ready to go home.

They rode back to town along Route Nine, he and Edith in the rear of Phil's car, Rhona driving because Phil had drunk just a little too much, Phil singing and telling an occasional bad joke, and somehow not his old self. No one was his old self. No one would ever be his old self with the First One.

They turned left, to take the short cut along Hallowed Hill Road, and Phil finished a story about a Martian and a Hollywood sex queen and looked at his wife and then past her at the long, cast-iron fence paralleling the road. "Hey," he said, pointing, "do you know why that's the most popular place on earth?"

Rhona glanced to the left, and so did Hank and Edith. Rhona made a little sound, and Edith seemed to stop breathing, but Phil went on a while longer, not yet aware of his supposed faux pas.

"You know why?" he repeated, turning to the back seat, the laughter rumbling up from his chest. "You know why, folks?"

Rhona said, "Did you notice Carl Braken and his wife at—"

Hank said, "No, Phil, why is it the most popular place on earth?"

Phil said, "Because people are—" And then he caught himself and waved his hand and muttered, "I forgot the punch line."

"Because people are dying to get in," Hank said, and looked through the window, past the iron fence, into the large cemetery at the fleeting tombstones.

The car was filled with horrified silence when there should have been nothing but laughter, or irritation at a too-old joke. "Maybe you should let me out right here," Hank said. "I'm home—or that's what everyone seems to think. Maybe I should lie down in an open grave. Maybe that would satisfy people. Maybe that's the only way to act, like Dracula or another monster from the movies."

Edith said, "Oh, Hank, don't, don't!"

The car raced along the road, crossed a macadam highway, went four blocks and pulled to a stop. He didn't bother saying good night. He didn't wait for Edith. He just got out and walked up the flagstone path and entered the house.

"Hank," Edith whispered from the guest room doorway, "I'm so sorry—"

"There's nothing to be sorry about. It's just a matter of time. It'll all work out in time."

"Yes," she said quickly, "that's it. I need a little time. We all need a little time. Because it's so strange, Hank. Because it's so frightening. I should have told you that the moment you walked in. I think I've hurt you terribly, we've all hurt you terribly, by trying to hide that we're frightened."

"I'm going to stay in the guest room," he said, "for as long as necessary. For good if need be."

"How could it be for good? How, Hank?"

That question was perhaps the first firm basis for hope he'd had since returning. And there was something else; what Carlisle had told him, even as Carlisle himself had reacted as all men did.

"There are others coming, Edith. Eight that I know of in the tanks right now. My superior, Captain Davidson, who died at the same moment I did—seven months ago next Wednesday—he's going to be next. He was smashed up worse than I was, so it took a little longer, but he's almost ready. And there'll be many more, Edith. The government is going to save all they possibly can from now on. Every time a young and healthy man loses his life by accident, by violence, and his body can be recovered, he'll go into the tanks and they'll start the regenerative brain and organ process—the process that made it all possible. So people have to get used to us. And the old stories, the old terrors, the ugly old superstitions have to die, because in time each place will have some of us; because in time it'll be an ordinary thing."

Edith said, "Yes, and I'm so grateful that you're here, Hank. Please believe that. Please be patient with me and Ralphie and—" She paused. "There's one question."

He knew what the question was. It had been the first asked him by everyone from the president of the United States on down.

"I saw nothing," he said. "It was as if I slept those six and a half months—slept without dreaming."

She came to him and touched his face with her lips, and he was satisfied.

Later, half asleep, he heard a dog howling, and remembered stories of how they announced death and the presence of monsters. He shivered and pulled the covers closer to him and luxuriated in being safe in his own home.


End of the Project Gutenberg EBook of The First One, by Herbert D. Kastle


***** This file should be named 24192-h.htm or *****
This and all associated files of various formats will be found in:

Produced by Greg Weeks, Mary Meehan and the Online
Distributed Proofreading Team at

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

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial



To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at

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

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (,
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.


1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal

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

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.

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

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at

Section 3.  Information about the Project Gutenberg Literary Archive

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director

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

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit

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:

Section 5.  General Information About Project Gutenberg-tm electronic

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

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.