The Project Gutenberg EBook of Hoiman and the Solar Circuit, by Gordon Dewey

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: Hoiman and the Solar Circuit

Author: Gordon Dewey

Release Date: May 2, 2010 [EBook #32213]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK HOIMAN AND THE SOLAR CIRCUIT ***




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






Transcriber's Note:

This etext was produced from If Worlds of Science Fiction July 1952. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.

 

 

Hoiman and the Solar Circuit

 

By Gordon Dewey

 

They lifted Hoiman's scratch, thus causing him to lose much smoosh. So he grabbed his bum and hit the high orbit.

P

ay day! I scrawled my Larry Maloney across the back of the check and handed it to Nick, the bartender. "Leave me something to operate on," I told him.

Nick turned it over. "Still with the News?"

The question was rhetorical. I let it pass without swinging at it. I was mentally estimating the total of the pile of tabs Nick pulled out of the cash register, like a fighter on percentage trying to count the house. I didn't like the figure it gave me.

Nick added them up, then added them again before he pulled some bills out of the money drawer and said, "Here's thirty skins. Your rent due?"

"This'll cover it. I'll do my drinking here."

I went over to a booth and sat down. I lit a cigarette. I smoked. And waited. Presently Sherry, tall, dark and delicious, decided I was making like a customer, and strolled over. "Would you like a menu, Mr. Maloney?" she trilled.

"Larry to you," I reminded her. "No menu. Bring me a steak. Big. Thick. Rare. And a plate of french fries. No salad. Bread and butter. Coffee."

She managed at last to pull her writing hand out of mine, and I had to repeat the order. Unless it could be turned into money, Sherry's memory was limited strictly to the present instant.

She put in the order, then brought me a set-up. I let my eyes go over her, real careful, for maybe the thousandth time. No doubt of it—the lassie had a classy chassis. If she just wouldn't yak so damn much.

It looked as though Hoiman's Bum would be remembered
on Mars. It looked as though Hoiman's Bum would be remembered on Mars.

"Did you see the matches last night?" She didn't wait for my answer, just went on with the yat-a-ta. "I spent the whole evening just glued to my television set. I was simply enthralled. When the Horrible Hungarian got the Flying Hackensack on—"

"Standing Hackenschmidt, Sherry!"

"—poor little Billie McElroy I wanted to—to scratch his eyes out."

I pointed out that McElroy weighed in at two forty-one and had gone on to win the match. Sherry never heard me.

"And the way the Weeping Greek kept hitting the other fellow—the announcer said he was throwing Judo cutlets."

"Cuts, not cutlets."

"But aren't Judo cutlets illegitimate?" The barest hint of a puzzled frown tugged at her flawless brows as she poured ice water into my glass.

"The word," I repeated, "is cuts. And the blow is not illegal." I gave my eyes another treat. What a chassis. And what a mind. "Anything these days, so long as you don't kill your opponent, is legal in wrestling."

Suddenly we had company: a little man who made scarcely a sound as he slid into my booth and sat facing me. "Rassling, yet," he said, in bitter tones. "What a woid. Dun't be saying it." He helped himself to a cigarette from my pack lying on the table, and put the pack in his pocket. He lit the cigarette, using my lighter, which he held a moment longer than necessary before replacing it—regretfully—on the table.

He inhaled deeply. "Rassling!" he repeated. "Leave us not discuss it."


H

e was thin, haggard, unkempt, and his brown suit—in which the chalk stripes were beginning to blend with the background—was threadbare. He needed a shave, and his fingernails were dirty. He was vaguely familiar. The beady little eyes flicked up at me, and all uncertainty dissolved.

"Oh, no!" I said. "Not you. Not—"

He exhaled a great cloud of smoke. "Hoiman Katz," he said, in dejected tones. "It is me, again. The same as like always, only not so better." He sighed.

Sherry's tongue had been shifting from one foot to the other, waiting for an opening. "Are you a wrestler, Mr. Katz?" she asked brightly.

Hoiman half rose from his seat, and the cigarette dropped from his lax mouth. Then he slumped down again, spread his hands, shrugged, and said, "Now I esk you!"

Sherry said, "I guess not." Then, "Shall I bring you something?" Her eyes were on me as she asked. She hadn't worked on Vine Street for six years without learning the ropes—about people at least.

I nodded.

Katz was waiting for the nod. He licked his lips. "I'll have a—"

"Planet Punch?"

"No. I'll have a—"

"Solar Sling? Martian Mule?"

Hoiman's eyes squinted shut, and he winced eloquently. "Martian!" he groaned. "With rassling, too! Bring me a bottle of beer. Two bottles!" After a moment he peered cautiously through slitted lids. "Is she gone?" he whispered. "Such woids. Rassling. Martian. Better I should have stood in Hollywood."

I laughed. "What's the matter with wrestling, Hoiman? Last I heard you were managing a good boy—what was his name?"

"Killer Coogan? That bum!"

I had to do some thinking back. "Yeah," I said, "that's the boy. Started wrestling back in the fifties. Good crowd pleaser. Took the Junior Heavyweight Championship from Brickbuster Bates. Had a trick hold he called the pretzel bend—hard to apply, but good for a submission every time when he clamped it on. Right?"

"Okay, so he won some bouts with it. But that was twenty-five years ago. He's slower, can't use that holt any more. We ain't had no main events for a long time, and my bum is a big eater, see?"

"So?"

"So Hoiman Katz is not sleeping yet at the switch. He's got it up here." A grimy forefinger tapped his wrinkled brow. "I says, Hoiman, if we don't get it here, we gotta go where we can get it."

Sherry came back with Hoiman's two bottles of beer, and my steak and french fries. The steak was a dream, and the french fries were a crisp, rich golden brown that started my mouth watering.

Sherry wanted to talk. I waved her down, and she went away pouting. If there was a story in Hoiman I wanted to get it without interference.

He was pouring a second glass of beer. His beady eyes swivelled up to mine, then quickly away. "You want I should tell you about my bum?"

I mumbled something through a mouthful of good juicy steak.

Hoiman sighed, reminiscently, and a grimy paw swooped into my french fries. I moved them to the other side of my steak platter.


W

e woiked all up and down the Coast, (Hoiman said). My bum took all comers. Slasher Slade had his abominal stretch. Crusher Kane had his rolling rocking horse split; Manslaughter Murphy had his cobra holt—but none of those guys had anything like my Bum's pretzel bend. He trun 'em all, and they stayed trun.

That was fine. All through the fifties, and the sixties we made plenty scratch. Maybe it slowed down, but we was eating regular. In the seventies my bum was slowing up. I shoulda seen it when he started missing his holt. That leaves him wide open, see? And twict the other bum moiders him.

That was recent—they was just putting in regular passenger service on the space lines, so you could buy tickets to the Moon, or Venus or Mars. Depended on whether you was ducking a bill or some broad.

By this time my bum is getting pinned to the mat too regular, and we're slipping out of the big dough. I counts up our lettuce one day, and I says to my bum, I says, Ray, I says, you and me are going to the Moon.

So what if they didn't have a rassling circuit there yet, I tell him. Just leave it to your uncle Hoiman. We'll make our own circuit.

I figured that the ribbon clerks wouldn't be taking space rides for awhile, and if we went to the Moon we'd find some bums there who could give my bum a good bout, but not fast enough to toss him.

So we went there.

 

Hoiman's eyes, looking into the past, had lost their beadiness. He'd shifted his third glass of beer to his right hand, and his left, seemingly of its own volition, had found my plate of french fries. The pile had dwindled by half, and tell-tale potato crumbs were lodged in the whiskers on Hoiman's unshaven chin. Neither beer nor potatoes in his mouth seemed to matter—he went right on talking at the same rate.

 

It takes me two weeks, (Hoiman continued), to ballyhoo up a bout, line up another bum, fix up the ring and hall and everything. We was down to our last lettuce that night. I gets my bum by the ear, and I tells him, I says, make it a good show. But don't take no chances—this is winner take all, and we better not lose. Don't use your pretzel bend unlessen you have to.

This bum we rassle was a big miner, see?—hard as the rocks he juggles around in the daytime. He was stronger'n my bum, but he don't know nothing about rassling. My bum tried a step-over toehold on him, but he knows how to kick. My bum goes through the ropes. He don't try that no more.

They rassle around, and eight minutes later my bum takes first fall with a body press after flattening the miner with a hard knee lift. I told my bum to let him take the second fall, which he does. The big miner gets a head scissors on him and like to moiders him before he can submit.

Ray isn't liking it, and he takes the third one quick with a abominal stretch, which surprises the big guy and takes all the fight outa him. He didn't know they was holts like that, and he passes the word around that my bum has plenty moxie. So we get only one more bout on the Moon—but outa the two we get enough scratch to take us to Venus.

 

Hoiman paused, trying hard to pour more beer out of the empty second bottle. He licked his lips like they were real dry, and his beady eyes flicked a glance at me that came and went as fast as the tip of a swinging rapier. I signalled Sherry to bring two more bottles of beer. Hoiman relaxed, sighed, gazing almost affectionately at the new crop of french fries which had appeared suddenly in his clutching fist.

Sherry, still pouting, came with the beer, and ten seconds later Hoiman was talking again.

We did okay on Venus, (he said). Before long I have a regular little circuit woiked up in the three spaceports, and they is plenty bums there what think they can rassle. Some of them can—my bum has to use his pretzel bend oftener and oftener. He's lucky, and he don't slip none clamping it on—at first.

I have ta tell you about them Venusians. Them dustlanders, I mean. They got big flat wide feet for padding through the dust, and their noses are like a big spongy thing all over their puss, to filter the dust out. So they got no expression on their pans. A guy like me, which has got a real expressive face, could get the willies just looking at them. And their eyes—round and flat, big as silver dollars.

Them dustlanders was nuts about rassling. They flock to the rassling shows and buy good seats. They don't do no hollering and waving like people do. Just sit there, staring out of them big flat eyes and making funny chuffing noises at each other when some bum would get a good hold on the other.

My bum didn't pay them no never mind at foist, but one day he tells me he keeps feeling them eyes on him while he's rasslin'. I give him the old razz—but that night he tries for his pretzel bend, and misses. The other bum is young and fast, and my bum gets trun, but good!

So this happens a few more times, and my bum says we gotta move on—he can't rassle no more with them dustlanders staring at him and chuffing about him.

Some of them ear benders on Venus are studying up on the side, anyhow, and the outlook for my bum ain't so good no more nohow. So we go to Mars.

 

I signalled Sherry for my coffee, as Hoiman ground to a stop while he refilled his glass. I swear my eyes weren't away from the table for more than a half second, but in that moment all the french fries left my plate. I yielded to Fate—it wasn't meant to be that I eat french fries this pay day.

 

Things are primitive like on Mars, (Hoiman was saying), on accounta the troubles they have with power there. We rassled under some funny set-ups, but that's okay with me as long as my bum tosses his man.

This time they ain't none of them screwy Venusians to put the whammy on him, and he's doing okay. Until—I gotta admit it—I get deluges of grandeur, or something.

I gotta tell ya about them Martians. They are about seven feet tall, not too heavy, but they got plenty moxie. And an extra pair of arms, so I get to thinking they oughta be terrific in the ring. Just so they ain't too terrific.

I ask my bum, I says to him, I says, could he, does he think, trun one of them Martians? He says iffen he has to he'll use his pretzel bend, and they ain't no Martian on six legs, or eight, what won't say uncle.

So I check with the Colony Administrator, and he says it's okay for a match perviding we don't interfere with any of their beliefs or customs or conventions. I ast him what were they, and he told me the Martians never talked about them, so we'd just have to be careful.

What the hell, I says to my bum. A bout's a bout. So I start promoting. First I find out do them Martians have a bum what wants to rassle my bum, winner take all—which is the way we like to rassle, when I know my bum can trun the other bum. Natch.

I don't mean we talk to the Martians—I don't savvy them squeaks they use on each other. We hire an interpreter—we have to take his word for it that everything is woiking out.

So the night of the match comes around and them Martians insist on having it in their own town, Meekweek it sounds like, near as I can say it in people talk. Remember I told you it was primitive? You never seen nothing like this. They don't live with people by the way. They live off by theirselves in their own town.

The ring and mat and ropes are okay—not regulation, but nothing to squawk about. Them lights was what get me. The Martians got no power, so they make a deal with some insecks. Cross my heart—'sa fack. You never see such insecks. Round, big as a dinner plate, flat on top, rounded off on the bottom. They stay up in the air by spinning like a wheel—just like them flying saucers the Rigellians was spying on us in the fifties. You wouldn't remember about that.

At night the bottom part of them insecks lights up like a big electric bulb, almost as bright, too. They was enough of them zinging around over the ring to make it look like it was floodlighted. My bum says they remind him of them dish-eyed Venusians, but I quick change the subjeck. That shoulda tipped me off—shoulda give me a freemonition that the party was gonna get rough. If I'da known how rough, we'da stood in town.

The Martian bum is a big mug, and those four arms of his look mighty plural. I quick tells my bum, I says to him, I says, watch out for arm locks and leg strangles. If that overgrowed spider ever gets one on you he'll double keylock it!


T

he two bums go in the ring, and get their instructions. Mostly the ref makes motions. The Martian nods his head like he understands fine. When the ref is telling them about trunnin' each other outen the ring, the Martian makes a motion like can he trun his man up in the rafters?

The ref shakes his head no, and that seems to satisfy the Martian. The timekeeper blows a whistle, and things start to moving. That Martian Mangler puts down his two middle limbs, uses them like legs, and is across the ring and swarming all over my bum while he is still taking his foist step.

Before you know it the ref is counting one, two, three, and my bum is trun for the foist fall. The Martian is using his middle limbs like arms, and he has a hammerlock and an arm strangle both on my bum—and both of them keylocked!

The ref gets them untangled, and I quick tell my bum we ain't hurt until we get trun twict. So I tell him how to get that next fall—to keep away from them four arms and keep circling until he gets a chance to clamp on the pretzel bend.

The whistle blows, and this time my bum uses my head. When the Martian Mangler gallops over to his corner, my bum has went through the ropes and quick runs around on the apron to the other side and comes at the Martian from behind before the goof knows what's happening.

He lets the Martian have a rabbit punch, then a forearm smash, then a knee to his stomach. The Martian leans over, kinda sick, maybe, and gets a knee lift to the smoosh. This softens him up good, and my bum clamps the pretzel bend on him. That Martian squirms like an octopus, with arms and legs flying in all directions. And you coulda knocked me over with a subpoena when he got out of it!

Your guess is as good as mine, how he done it. But my bum is moving fast, and he gives him some more knee lifts and a drop kick or two, and then a hair mare, and he falls on him for a body press and gets the count.

Each bum has got a fall. You shoulda heard them Martians there squeaking this time—ten times as loud as when their bum won the foist fall. But they had no squawks. These flying chandeliers they had, they kinda bunched up to follow the action, and the light was good so the ref couldn't make no mistake about it.

That Martian squirming out of the pretzel bend don't look so good, so I tell my bum not to use it for the thoid fall. I tell him to give the Martian some more of them knee lifts—he don't get along with them at all. I tell him to folly that up with a airplane spin and a body slam.

My bum follys instructions to the alphabet, and that is just what happens. He bangs that Martian around with elbow smashes and knee lifts till he don't know is he on one leg or six. Then he goes in fast and grabs him by a coupla legs and arms, holds him up in the air, and spins him like a pinwheel.

Right away I knowed something was in the air besides that Martian Mangler. Oi! Did things happen all to onct!

My bum slams the Martian and falls on him for the count, and wins the thoid fall and the match. That part is okay. But while the Martian is still up in the air I notice that all the squeaking from the Martians has stopped all of a sudden.

So from the Martians we are getting nothing but silence, strictly wholesale. I think maybe that's natural when their bum gets trun.

And then—plop! plop! plop!—and them flying light bulbs all drop down flat on the mat and lay there just like the Martian bum, until they isn't enough light in the house to see to strike a match. And then the squeaking starts again, like a million hungry rats, and I can just barely see them Martians starting for the ring.

I gets my bum by the arm and tells him something tells me we better blow the joint. We blow, fast. Them Martians is mad about something which I ain't had time to figure out, yet. My bum steps on one of them animated light fixtures when he gets out of the ring and squashes it. A puddle of light squirts out, and natch he steps in it. We are scramming through that crowd like mad, and we are in the clear. But we hear them squeaks behind us for a long time. They are follyin' the glowing footprints my bum is leaving to point the way.

 

He emptied the last bottle of beer, holding it upended for a long time waiting for the final laggard drop to detach itself. He stalled over his drink, waiting for me to ask him what happened, so I did. He put on his most wounded expression, and I knew then that he'd suffered a mortal blow—to his purse.

 

Yeah, we got away, I made my bum trun away his flashy shoes so they couldn't track us by them. We walked all the way back to Neopolis, the people city. All kinds of plain and fancy rumors beat us there, so the Colony Cops put us in protective custody until they got the straight story.

Nobody ever saw another Martian. It seems that they got some trick notions about theirselves. They are proud because they can walk on the ground and don't have to fly, so they got a hearty contemp for things that fly, like them insecks which they used for house lights.

Now, them insecks is dopes too and would give anything if they could walk like the Martians. And the Martians know the insecks can think a little, and it makes them feel good to have the insecks looking up to them. Lord knows nobody else does.

So when my bum lifted their bum up in the air and spun him around like a pinwheel it was a big insult to them. They took it that my bum was as much as telling them that he didn't think they was any better than them insecks flying around over the ring. And the insecks took it as a invite to come down and try the Martians racket so that's why they all flop into the ring and the lights go out. They was trying to walk.

That's more than the Martians can take. They swarm into the ring and kill all the insecks. They'da killed us too, but I got smart brains and we didn't hang around asking for it.

And now they won't have nothing to do with no people from Earth on account of they have lost so much smoosh, the way they look at it.

We got no take from that bout. And the Colony Administrator lifts all our scratch—said we'd gummed up Martian trade and he'da trun us in the clink too only he didn't want to see no more of us. He wouldn'ta even give us fare back to Earth except he said he didn't want us anywhere on Mars.

 

"So that," the little promoter concluded sadly, "is why I don't like Mars and rasslin' and Martian Mules and people who talk about such things." His beady eyes flicked a baleful glance at Sherry, who hovered nearby on the chance that he'd stop talking and give her an inning.

Hoiman stood up, carefully shook the bottles to be sure that they were empty, extracted a cigarette from the pack he'd stuck into his pocket, and used my lighter again. He hefted it carefully, reluctantly putting it back on the table. Then his little black eyes swivelled to the last piece of potato on my plate—the piece he'd spared in previous raids.

"What's the matter with them fries?" he asked.

It disappeared into his mouth and he went away, munching, a dingy little man padding along on silent, predatory feet.

He'd scarcely slipped out through the door when Sherry moved in.

"Is he really a wrestler, Larry?" she asked breathlessly.

"Him?" Even Sherry, vintage Vine Streeter that she was, should have got the pitch. "The only thing," I told her solemnly, "that Hoiman ever got a hammerlock on was a dollar bill!"

But Sherry wasn't listening, "Don't you just love wrestling?"

I let my eyes have a treat, taking their time as they went over that classy chassis. Then I said it. Fervently.

"Any time, Sherry! Any time."

THE END







End of Project Gutenberg's Hoiman and the Solar Circuit, by Gordon Dewey

*** END OF THIS PROJECT GUTENBERG EBOOK HOIMAN AND THE SOLAR CIRCUIT ***

***** This file should be named 32213-h.htm or 32213-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/3/2/2/1/32213/

Produced by Sankar Viswanathan, Greg Weeks, 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
business@pglaf.org.  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
     gbnewby@pglaf.org


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.