The Project Gutenberg EBook of I Like Martian Music, by Charles E. Fritch

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 www.gutenberg.org


Title: I Like Martian Music

Author: Charles E. Fritch

Release Date: March 30, 2009 [EBook #28451]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK I LIKE MARTIAN MUSIC ***




Produced by Greg Weeks, Stephen Blundell and the Online
Distributed Proofreading Team at http://www.pgdp.net

Longtree sat before his hole in the ground and gazed thoughtfully among the sandy red hills that surrounded him. His skin at that moment was a medium yellow, a shade between pride and happiness at having his brief symphony almost completed, with just a faint tinge of red to denote that uncertain, cautious approach to the last note which had eluded him thus far.

He sat there unmoving for a while, and then he picked up his blowstring and fitted the mouthpiece between his thin lips. He blew into it softly and at the same time gently strummed the three strings stretching the length of the instrument. The note was a firm clear one which would have made any other musician proud.

But Longtree frowned, and at the disappointment his body flushed a dark green and began taking on a purple cast of anger. Hastily, he put down the blowstring and tried to think of something else. Slowly his normal color returned.

Across the nearest hill came his friend Channeljumper, striding on the long thin ungainly legs that had given him his name. His skin radiated a blissful orange.

"Longtree!" Channeljumper exclaimed enthusiastically, collapsing on the ground nearby and folding his legs around him. "How's the symphony coming?"

"Not so good," Longtree admitted sadly, and his skin turned green at the memory. "If I don't get that last note, I may be this color the rest of my life."

"Why don't you play what you've written so far. It's not very long, and it might cheer you up a bit."

You're a good friend, Channeljumper, Longtree thought, and when Redsand and I are married after the Music Festival we'll have you over to our hole for dinner. As he thought this, he felt his body take on an orange cast, and he felt better.

"I can't seem to get that last note," he said, picking up the blowstring again and putting it into position. "The final note must be conclusive, something complete in itself and yet be able to sum up the entire meaning of the symphony preceding it."

Channeljumper hummed sympathetically. "That's a big job for one note. It might be a sound no one has ever heard before."

Longtree shrugged. "It may even sound alien," he admitted, "but it's got to be the right note."

"Play, and we'll see," Channeljumper urged.

Longtree played. And as he played, his features relaxed into a gentle smile of happiness and his body turned orange. Delicately, he strummed the three strings of the blowstring with his long-nailed fingers, softly he pursed his frail lips and blew expertly into the mouthpiece.

From the instrument came sounds the like of which Channeljumper had never before heard. The Martian sat and listened in evident rapture, his body radiating a golden glow of ecstasy. He sat and dreamed, and as the music played, his spine tingled with growing excitement. The music swelled, surrounding him, permeating him, picking him up in a great hand and sweeping him into new and strange and beautiful worlds—worlds of tall metal structures, of vast stretches of greenness and of water and of trees and of small pale creatures that flew giant metal insects. He dreamed of these things which his planet Mars had not known for millions of years.

After a while, the music stopped, but for a moment neither of them said anything.

At last Channeljumper sighed. "It's beautiful," he said.

"Yes," Longtree admitted.

"But—" Channeljumper seemed puzzled—"but somehow it doesn't seem complete. Almost, but not quite. As though—as though—"

Longtree sighed. "One more note would do it. One more note—no more, no less—at the end of the crescendo could tie the symphony together and end it. But which one? I've tried them all, and none of them fit!"

His voice had risen higher in his excitement, and Channeljumper warned, "Careful, you're beginning to turn purple."

"I know," Longtree said mournfully, and the purple tint changed to a more acceptable green. "But I've got to win first prize at the festival tomorrow; Redsand promised to marry me if I did."

"You can't lose," Channeljumper told him, and then remembered, "if you can get that last note."

"If," Longtree echoed despairingly, as though his friend had asked the impossible. "I wish I had your confidence, Chan; you're orange most of the time, while I'm a spectrum."

"I haven't your artistic temperament," Channeljumper told him. "Besides, orange is such a homely color I feel ashamed to have it all the time."

As he said this, he turned green with shame, and Longtree laughed at the paradox.

Channeljumper laughed too, glad that he had diverted his friend's attention from the elusive and perhaps non-existent note. "Did you know the space rocket is due pretty soon," he said, "perhaps even in time for the Music Festival?"

"Space rocket?"

"Oh, I forgot you were busy composing and didn't get to hear about it," Channeljumper said. "Well, Bigwind, who has a telescope in his hole, told me a rocket is coming through space toward us, possibly from the third planet."

"Oh?" Longtree said, not particularly interested.

"I wonder if they'll look like us?" Channeljumper wondered.

"If they're intelligent, of course they will," Longtree said certainly, not caring. "Their culture will probably be alien, though, and their music—" He paused and turned a very deep yellow. "Of course! They might even be able to furnish the note I need to complete my symphony!"

Channeljumper shook his head. "You've got to compose it all yourself," he reminded, "or you don't qualify. And if you don't qualify, you can't win, and if you don't win, you can't marry Redsand."

"But just one little note—" Longtree said.

Channeljumper shrugged helplessly and turned sympathetically green. "I don't make the rules," he said.

"No. Well," Longtree went on in sudden determination, "I'll find that last note if I have to stay permanently purple."

Channeljumper shuddered jestingly at this but remained pleasantly orange. "And I'll leave you alone so you can get to work," he said, unfolding himself.

"Goodbye," Longtree said, but Channeljumper's long legs had already taken him over to the nearest sand dune and out of sight.

Alone, Longtree picked up the blowstring once more, placed it against his stomach, and gave out with a clear, beautiful, experimental note which was again not the one he desired.

He still had not found it an hour later, when the Sound came. The Sound was a low unpleasant rumble, a sound lower than any Longtree had ever heard, and he wondered what it was. Thinking of it, he remembered he had seen a large flash of fire in the sky a moment before the roar came. But since this last was clearly not likely at all, he dismissed the whole thing as imagination and tried again to coax some new note from the blowstring.

A half hour later, Channeljumper came bounding excitedly over a sand dune. "They're here," he cried, screeching to a halt and emitting yellow flashes of color.

"Who's here?" Longtree demanded, turning violet in annoyance at the interruption.

"The visitors from space," Channeljumper explained. "They landed near my hole. They're little creatures, only half as big as we are, but thicker and grey colored."

"Grey colored?" Longtree repeated incredulously, trying to picture the improbability.

"But only on the outside," Channeljumper went on. "They have an outside shell that comes off, and inside they're sort of pink-orange."

"Ah-ha," Longtree said, as though he'd suspected it all the time. "Evidently they wear grey suits of some kind, probably for protection."

"They took them off anyway," Channeljumper said, eager to impart his knowledge, "and they were sort of pink-orange underneath. There are only two of them, and one has long hair."

"Strange," Longtree mused, thinking of their own hairless bodies. "Wonder what they want."

Channeljumper shrugged to indicate he didn't know. "The short-haired one followed me," he said.

Longtree felt the chill blue of fear creep along his spine, but immediate anger at himself changed it conveniently to purple, and he was certain Channeljumper hadn't noticed. When he had controlled himself, he said, "Well, it doesn't matter. I've got to get on with my symphony. That last note—"

"He's here," Channeljumper announced.

"What?"

Channeljumper pointed eagerly, and Longtree's eyes followed the direction to where the alien stood at the top of a nearby dune staring at them. Longtree could feel his skin automatically turning red with caution, blending with the sand while the ever-trusting Channeljumper remained bright orange.

"Good gosh," the alien exclaimed. "Not only do they look like modified grasshoppers, they change color too!"

"What'd he say?" Longtree demanded.

"How should I know?" Channeljumper said. "It's in another language."

"And its voice," Longtree exclaimed, almost disbelieving it. "Low. Lower than even our drums' rumble."

"And they talk in squeaks yet!" the alien told himself aloud.

Longtree regarded the alien carefully. As Channeljumper had said, the creature was short and had close-cropped hair on its head. The legs were brief and pudgy, and Longtree felt a shade of pity for the creature who could obviously not get around as well as they. It was undoubtedly intelligent—the space rocket testified to that—and the fact that the creature's skin color stayed a peaceful pink-orange helped assure Longtree the alien's mission was friendly.

The alien raised a short arm and stepped slowly forward. "I come in peace," he said in the language they could not understand. "My wife and I are probably the only humans left alive. When we left Earth, most of the population had been wiped out by atomics. I think we were the only ones to get away."

Longtree felt his redness subside to orange, as he wondered idly what the alien had said. Except for a natural curiosity, he didn't really care, for he remembered suddenly the symphony he had to finish by tomorrow if he were to marry Redsand. But there was the element of politeness to consider, so he nudged Channeljumper.

"Don't just stand there, say something!"

Channeljumper flustered and turned several colors in rapid succession. He stammered, "Er—ah—welcome to our planet, O visitor from space," and motioned the alien to sit down.

"That's not very creative," Longtree accused.

"What's the difference," Channeljumper pointed out, "when he doesn't understand us anyway."

"You guys don't really look like grasshoppers," the man from Earth apologized, coming forward; "it's just the long legs that fooled me from up there. Boy, am I glad to find somebody intelligent on Mars; from the air we couldn't see any cities or anything, and we were afraid the planet didn't have any life. I wish we could understand each other, though."

Longtree smiled pleasantly and wished the creature would go away so he could search for the last note to his symphony. He picked up his blowstring so the alien wouldn't sit on it.

"Play for him," Channeljumper suggested, seating himself by segments. "Just the last part to see how he reacts. Music is universal, you know."

Longtree was going to do just that thing, for despite Channeljumper's warning that he must compose every single note by himself, he felt an alien viewpoint might be helpful.

He started playing. Channeljumper sat dreaming, glowing radiantly, but the alien seemed somewhat perturbed by the music and fidgeted nervously. Could it be, Longtree wondered, that the incredible beauty of his composition might not translate acceptably to alien ears? He dismissed the thought as unlikely.

"Er—that's a bit high, isn't it?" the creature said, shaking his head.

Lost in the sweeping melodies, neither Longtree nor Channeljumper paid any attention to the meaningless syllables. Longtree played on, oblivious to all else, soaring toward the great screaming crescendo that would culminate with the missing note.

Vaguely, he became aware that the creature had gotten up, and he turned a small part of his attention to the action. Longtree smiled inwardly, pleased, and turned yellow with pride to think even a man from another planet should so appreciate his symphony that he got up and danced a strange dance and even sang to the music.

The alien held onto his ears and leaped erratically, singing, "No, no, stop it. It's too high. My head's bursting!"

Channeljumper too seemed pleased by this show of appreciation, though neither of them understood the words, and Longtree swept into the final notes of the rising crescendo with a gusto he had not previously displayed. He stopped where he had always stopped—and the final note came!

It startled the Martians. Then the realization swept over them in glad tides of color. The symphony was complete now, with that final alien sound. Longtree could win both the festival prize and Redsand with it. The last note was a soft popping sound that had come from the creature from another planet. They looked to see him sagging to the ground, his head soft and pulpy.

"My symphony's complete," Longtree exclaimed jubilantly, a brilliant yellow now.

But Channeljumper's yellow happiness was tinged with green. "A pity," he said, "the creature had to give its life in exchange for the note."

"I believe it really wanted to," Longtree said, turning solemn. "Did you see how it danced to the music, as though in the throes of ecstasy, and it didn't change color once! It must have died happy to know it gave itself to a good cause."

"You could probably get by with claiming to use the creature as an auxiliary instrument," mused Channeljumper, practical once more, "and eliminate any claim that he might have assisted you. But what about the Festival? This one looks as though he doesn't have another note in him."

"There's the other one," Longtree reminded, "the one with long hair. We can save that one until tomorrow."

"Of course," Channeljumper agreed, standing up. "I'll go get it, and you can keep it safe here in your hole until tomorrow night."

"You're a good friend, Channeljumper," Longtree began, but the other was already bounding out of sight over a sand dune.

Blissfully he raised the blowstring into position and played the opening notes to his symphony. The alien lay unmoving with its head in a sticky puddle, but Longtree took no notice. He didn't even consider that after the Festival he would never be able to play his symphony again in all its glorious completeness. His spinal column tingled pleasantly, and his skin turned the golden yellow of unbearable happiness.

The music was beautiful.

End of Project Gutenberg's I Like Martian Music, by Charles E. Fritch

*** END OF THIS PROJECT GUTENBERG EBOOK I LIKE MARTIAN MUSIC ***

***** This file should be named 28451-h.htm or 28451-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/8/4/5/28451/

Produced by Greg Weeks, Stephen Blundell and the Online
Distributed Proofreading Team at http://www.pgdp.net


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
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

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
http://gutenberg.org/license).


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
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-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 www.gutenberg.org

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.9.

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 (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-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
that

- 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.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.

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-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
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  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 MERCHANTIBILITY 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-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 http://www.pglaf.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.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  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 protected].  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     [email protected]


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 http://pglaf.org

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: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

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:

     http://www.gutenberg.org

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.