The Project Gutenberg EBook of Camping at Cherry Pond, by Henry Abbott

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: Camping at Cherry Pond

Author: Henry Abbott

Release Date: December 16, 2010 [EBook #34670]

Language: English

Character set encoding: ISO-8859-1


Produced by Linda M. Everhart, Blairstown, Missouri





Copyright 1916

Camping at Cherry Pond

We were out of meat. We were not in imminent danger of starvation, nor indeed of hunger, but were reduced to what might be called a vegetable diet, and not a great variety of that. Bige and I discussed the situation while we ate our frugal evening meal of flapjacks, maple syrup, and onions. We had eaten onions, syrup, and flapjacks for luncheon, and syrup, onions, and flapjacks for breakfast that same day. The last of our stock of bacon had been consumed twenty-four hours earlier, and the last of our eggs had served as part of breakfast on the morning of the previous day. Our fresh meat had disappeared five days before, and the potato bag was empty. We had some coffee and plenty of spring water. The flapjacks were good, but we were not quite happy. There was a lot of sameness in our diet, which was far from agreeable, and we now were considering ways and means.

I suppose it is due to the perversity of the human animal that he craves what is sometimes called a "balanced ration." We were both fond of flapjacks, and likewise of onions. There is nothing quite so satisfying as onions, cooked over and eaten by the camp fire; but onions three times a day, and day after day — well, I suppose it would have been just as bad if we had been sentenced to eat ice cream for a steady diet. I seem to recall that we had, in our Sunday-school days, the authority of the Good Book for the statement that the Israelites went on a strike because they were obliged to eat quail three times a day for a long while.

Bige and I were living at the Cherry Pond Camp. We had gone over there to hunt deer, and had taken in with us, ten days previously, what we considered a good supply of food; but then, we had counted on shooting a deer and expected to have venison to add to our cuisine. Of course we could have gone back to Brown's hotel and gotten some more food, but Deerland Lodge was ten miles away; besides, the people there would have laughed at us if we had returned empty-handed. We were expected to bring "meat" back with us, but luck had been against us.

There were plenty of fish in Cherry Pond. We had caught them there many times, but at the time of which I write the season was closed for both speckled and lake trout, and, moreover, we had brought no fishing tackle, so a fish diet was out of the discussion.

It was early October, and the deer-hunting season had opened on the first day of the month. We had come to hunt deer, but we had no thought of taking a mean advantage of the deer or of violating the game law by hunting him at night along the shores of the pond with a jack light. That would have been too easy, and in our opinion little short of murder. We proposed to be sporty and practice only the "still-hunting" method. That would give the deer long odds and, so to speak, a running chance for his life. Under the prevailing conditions the chances were indeed about twenty to one in his favor.

The Cherry Pond Camp
The Cherry Pond Camp

In still hunting one must sneak through the woods, making no sound and as little motion as possible. Preferably one should also hunt "up wind," but this is not always possible. The deer has been provided with a pair of very large ears capable of collecting the sound made by a breaking twig many rods away; and his sense of smell is so keen as to telegraph to his brain the human scent and warn him of the approach of his hereditary enemy long before he is within range of vision. It is also the habit of the deer, when lying down, to take such a position that he can keep his eye on his own back track, while he has in effect "his ear to the ground."

At this time the leaves had just begun to fall, and there had been no rain for many days, so when one walked through the woods the leaves rustled, and dried twigs and branches snapped, making the forest "noisy."

There were many deer living in the vicinity of Cherry Pond. We had seen tracks and other signs of their presence, but on the few occasions when we saw a deer it was usually only the flash of his white tail as he jumped from behind a clump of bushes and disappeared behind a rock or other screen. Twice we took snap shots, and in each instance the bullet, we found, was imbedded in a tree trunk that the deer had succeeded in placing between the gun and himself at the first running jump. I had also sat many hours on logs watching runways while Bige tramped around a hill or over a mountain to drive a deer past my watch station. On one occasion when I heard a deer coming and was all ready to shoot, he evidently suspected danger, crossed over to another parallel runway, and passed without coming into view.

We had traveled many miles in our hunt, had been over Panther Mountain and Eagle Mountain, had been up Beaver River Valley, and had visited Pickwocket Pond and Muskrat City. We had hunted carefully and patiently, but had each night gone back to camp without meat, and the situation was becoming serious.

Cherry Pond, so named because of the quantities of wild cherries that grow near it, was one of our favorite camping places, and we had spent more or less time there every year for the past fifteen years, both during the fishing and hunting seasons. Many a fine trout has found his ultimate destiny in our frying pan over the Cherry Pond camp fire.

Bige and I had built an open log camp there: one of the type called a "lean-to." It is so named because it leans to or against nothing. In other words, the camp has three sides, a sloping roof, an overhanging or projecting hood, and a fireplace built of stone in front. This type of camp can be made very comfortable except in cold winter weather, and in it one can be sure of plenty of fresh air. Some of the enclosed log cabins we have built are not so well ventilated and are liable to be close and stuffy.

The Dining Room
The Dining Room

We had a lot of fun in building this camp. It was substantially made, and with a few repairs to the roof has sheltered us for twelve years.

The first step in building a camp is to look for a spring of good pure water. In this case, after searching for several days and failing to find one, we selected a spot where the lay of the land indicated that a spring ought to be and dug for it. We found about three feet below the surface a vein of ice water that has never failed in the driest season.

Next, we selected a spot on top of a knoll about fifty feet above the surface of the pond and two hundred feet away from it, where we staked out our foundation. This elevation put us above the fog and damp air which settle down on the water at night.

Then we proceeded to make a set of drawings and specifications such as would be made in building a house. The logs and roof timbers were cut and fitted to specification before they were carried to position. The ground plan was twelve by eight feet. The ridge pole was nine feet high. The hood projected two feet, and was seven feet above ground. The walls were made of spruce logs, and were five feet high. The bottom log was ten inches in diameter; others graduated in size up to five inches at the top. Rafters were placed four inches apart; these and other roof timbers were made of spruce saplings two to three inches in diameter; and the roof and gable ends were covered with tar-paper, the roof projecting one foot beyond the walls all around to keep the outside of logs dry. Cracks between the logs were calked with dry moss.

On the ground, across the front, we placed a log ten inches in diameter, and another of the same size parallel to it at the rear. Across these two logs from front to rear we placed birch saplings one and one-half inches in diameter at the butt. These poles were selected with some care to have them straight, and they were placed one-half inch apart, butts to the front; and a single wire nail fastened each pole to the front log and kept it in position. The small ends of poles were left free to slide on the rear log when bent. On top of this birch gridiron we made our bed of balsam boughs. The result was as comfortable a spring bed as one can buy at a furniture house.

We built a cupboard at one end of the shack in which to store our food, and it was eaten up by porcupines and rebuilt the second time before we learned to cover the boards with tin. Also, after one table had been chewed up by the animals, we suspended the new one with wire from the roof of the camp on leaving, and since then have found it in good condition when we returned.

The camp afforded sleeping space for three or four persons. On occasions when we had several guests we would set up a tent in the back yard.

From time to time we made improvements; for example, we built a pavilion to cover the dining table so that in rainy weather we were not obliged to eat our meals on the bed.

One day during the hunt we came upon signs of bear only a few rods from the camp, and the tracks and other evidence of his presence were fresh. He had not been gone more than a few minutes when we arrived. The black bear of our forests is very fond of cherries and other fruits. The wild cherries of these woods are of a superior variety. They are much larger and sweeter than the ordinary type of choke (or pin) cherry. They are black and have a bitter-sweet flavor. We often eat them, but they are best used in making "cherry bounce."

The bear will gorge himself on these cherries, and he is no conservationist. He climbs a tree if it is a large one and breaks off all the branches. If it happens to be a small tree, he will tear it down and break it limb from limb, or he may pull it up by the roots, thus destroying the crop for another year. The bear is a typical American.

On another day we decided to suspend hunting operations and go over to Otter Pond, about a mile away, to inspect the lumber operations of a colony of beavers that live there; so we left our guns in camp, and Bige carried a boat over the trail, while I took my camera.

Just as we emerged from the woods we saw on the shore of Otter Pond, quietly browsing and about seventy-five yards away, a big buck deer having five prongs on each horn.

"Gosh!" said Bige.

We looked at him some minutes before he discovered our presence and loped off into the woods. It was as fine a shot as we shall ever have if we hunt the balance of our lives, but our guns were a mile away.

While paddling across the pond and near an island we heard a squeaking sound such as a lot of mice might make. Stopping the boat to listen, we soon saw, on a partly sunken log, six young mink. They were about the size of kittens when a week old. We sat quietly watching them a few minutes, when the mother mink came to the surface with a trout about five inches long in her mouth. She swam to the log and laid the fish on it, when the little ones scrambled for it, tearing it into shreds in a jiffy. They fought over the last scrap while the mother mink dove under the water again, and we continued across the pond to the beaver house which was on the opposite shore.

The Beaver House
The Beaver House

This beaver house was made of sticks of wood of varying size fastened together by mud. It was cone-shaped and placed on the bank with one edge in the water. It was about fifteen feet in diameter at the base and seven feet high at the center. There were five separate canals or ditches sunk below the bottom of the pond, all entering the house under its base and about four feet below the surface of the water. These allowed the beaver entrance and exit when the ice was very thick in winter.

We stopped our boat alongside, pounded on the roof with the paddle and waited for a response. We heard a murmur of beaver talk inside, and in two or three minutes there came a sudden splash directly behind us and a shower of water poured over my head and down the back of my neck. The grandfather beaver, the largest of his tribe, had come out through one of the cellar passages, under the boat, had come to the surface behind us, had lifted his tail, which was as broad and flat as Bige's paddle, and slapped the water with it, throwing spray at least six feet into the air. When I caught sight of him he was in the act of diving, but he presently came to the surface again, about fifty feet away, and started swimming toward the opposite shore. I wanted his portrait for my collection, so we went paddling after him. Five or six times we got near enough to focus the camera on him and press the button at just the instant when he slapped the water and dove under. The result was a half-dozen pictures of fountains but no beaver.

A Beaver Fountain
A Beaver Fountain

We were now a half-mile away from the house up the pond and for the first time realized that we were victims of a perfidious beaver trick. His sole purpose was, clearly, to allure us as far away from his house and his family as possible, and he had won.

About fifteen years previously a fire had burned over nearly a hundred acres of forest on the northern shore of Otter Pond, and this was now grown up with poplar and white-birch saplings. The bark of both these trees is used as food by the beavers, and they were now busily at work cutting down, clearing away, and storing for winter use this second growth of timber.

Unlike the bear. Brother Beaver is very thorough and economical in his operations. Nothing is wasted. He cuts down a tree with his chisel-shaped teeth, takes out a chip just such as comes from a lumberman's ax, cuts the tree into approximately four-foot lengths, trims out the branches, and carries away every scrap of it, even the small twigs. Nothing is left where the tree fell but stump and chips. What is not required for immediate use is piled up under water to keep the bark soft and fresh for winter consumption. And when he has peeled and eaten the bark from a stick, he saves that stick for use in enlarging his house or in repairing his dam.

At one corner of the pond was a swampy place through which a system of canals had been dug, down which the lumber might be floated to the open water on the way to the storage place. There were also roadways on the hillside, cleared and smooth, down which hundreds of sticks had been dragged to the water. About ten acres had been thoroughly cleared, and there were signs of activity on every hand, but most of the actual work was done at night. The beaver was the pioneer civil engineer of the American continent. At Otter Pond he had repaired and rebuilt a dam which had been used by a lumber company twenty years before.

The Dutch Oven
The Dutch Oven

To return to the discussion at our evening meal of the meat famine: Bige said that if we would get up early in the morning, long before sunrise, and go across the pond and up into the mouth of Fox River, we should find deer feeding there on the yellow pond lilies and button grass. We would have to find a hiding place before it got light, as the deer seldom stayed long at the water after sunrise.

So in the chill and shivery hours of the following morning we were on our way, I in the bow of the boat headed forward with my Winchester across my knees, and Bige operating a "still paddle" at the stern. By this method the paddle is not lifted out of the water; it is merely turned in the water so that the sharp edge of the blade is presented on moving it forward and the broad side is against the water on pushing it back. No ripple is made, or other sound, and the boat moves forward like a ghost through the darkness. A dense fog had settled down near the water, but it was clear overhead.

Groping along the opposite shore through the fog, we made our way finally into the mouth of Fox River and immediately heard a great splashing and sloshing just ahead. It sounded as if a lot of cattle might be wading across the stream, but we could see nothing but fog. Bige whispered from the other end of the boat: "There's a whole herd of them; pick the one with the biggest horns." I cocked my rifle so as to be ready for a quick shot, while Bige pulled the boat up along shore behind an overhanging wild-rose bush, and we waited with nerve and muscle tense. The splashing continued for what seemed a long time. Finally the rising sun crept over the hilltop and the fog rolled slowly up like a proscenium curtain in a theater and disclosed, at a distance of about thirty yards, a doe standing in the shallow water and quietly eating button grass, while two spotted fawns were playing tag, racing up and down, splashing water in every direction. With head and tail erect they would run about, kicking up their heels and snorting like a lot of calves at play in a barnyard.

One of the Partridges
One of the Partridges

This was a show worth the price of admission, and we sat and watched it for fully ten minutes, when a shifting breeze apparently carried our scent to the mother, who instantly sounded a note of warning, and the family party quickly disappeared through the brush into the tall timber, and we paddled back across Cherry Pond to our breakfast of flapjacks, syrup, and onions.

As we approached the landing place it occurred to me that the hammer of my gun was still up, and that the gun had not been lifted from my knees during the entire performance. As I let the hammer down and removed the cartridge from the barrel, I was conscious of a sense of relief that nothing had occurred to disturb the pleasant relations of the happy family.

After breakfast I went over on the Wolf Mountain tote road and shot four fine fat partridges. That night we had roast partridge for dinner. Have you ever eaten partridge that had been roasted in a Dutch oven before a camp fire? Well, say! "Jes take and have 'em stuffed with onions, baste 'em well, and roast 'em brown with a lot of gravy."


End of the Project Gutenberg EBook of Camping at Cherry Pond, by Henry Abbott


***** This file should be named 34670-h.htm or *****
This and all associated files of various formats will be found in:

Produced by Linda M. Everhart, Blairstown, Missouri

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 are 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 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 was 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.