The Project Gutenberg EBook of Whispers, by Paul Cameron Brown 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 ** This is a COPYRIGHTED Project Gutenberg eBook, Details Below ** ** Please follow the copyright guidelines in this file. ** Title: Whispers Author: Paul Cameron Brown Release Date: September 26, 2009 [EBook #30101] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK WHISPERS *** Produced by Al Haines. Cover Page 1 PAUL CAMERON BROWN Whispers Copyright (C) 1977 by Paul Cameron Brown All rights reserved *************************************************************** Cover Page 2 Paul Cameron Brown was born in London, England in 1948. Moving to Canada, he grew up in Kingston before attending high school in the southern community of Chatham. He spent five years at University of Western Ontario in London with summers interspersed between work and travel. The early seventies saw trips to Europe, the West and Mexico. Currently teaching high school in Brampton, his poems have appeared in Quarry, Nebula, Boreal, Northern Journey, Stuffed Crocodile, Tightrope, as well as a number of anthologies in the U.S. "... One can instantly sense the private and resonant landscape in the delicate nature... exciting water colour, a true painter of words." Joe Rosenblatt *************************************************************** ISBN: 0-88823-002-8 Published by Three Trees Press P.O.Box 70, Postal Station "V" Toronto M6R 3A4 Canada PAUL CAMERON BROWN Whispers *************************************************************** FOREWORD Paul Brown has a carborundum eye for the most extreme poetic minutia at a time when most of the younger poets indulge in introspective rhetoric, dulling that faint minority of poem tasters. However, in Brown's case one can instantly sense the private and resonant landscape in the delicate - nature and anthro-pomorphic poems, radiant creations - exciting water colour, a true painter of words. The Three Trees Press should be congratulated for their poetic efforts in publishing Whispers, a splendid Volume. Joe Rosenblatt *************************************************************** CONTENTS RAIN FILM 9 UNDULATE, MY TONGUE 10 RAIN FILM 11 ISLES AND RIVULETS 12 SEAWARD 13 MALINGERING 14 VOYAGE 15 CHRYSALIS 16 THE BELLS 17 THE WORLD OF DYING LOVE WHISPERS 19 DARKENING GREEN 20 WHISPERS 21 TRESPASS 22 FOREST SPITTLE 23 SEAGULLS 24 LA DOUCE MER 25 GOURDS 26 RESIGNATION 27 THE BREATH OF CANDLES 28 GREEN EYE SHIELDS 29 INVESTITURE 30 THE SPOKEN WORD TESTIMONY 32 SMEARS 33 TESTIMONY 34 FORTRESS SNOW 35 CIENFUEGOS 36 DEVASTATION 37 BEE AN APPLE 38 EMPTINESS 39 CLAWS 40 MOON DARK WORLD 41 THE ELYSIAN FIELDS 42 BARBARY WHITE THE BURNING 44 PENCIL SKETCHES 45 EMPTY WARRIORS 46 THE KEEPER OF THE JEWEL 47 ROWING WITH CRAYONS 48 COLLUSIONS 49 GOSSAMER THREADS 50 A FACE 51 THE BURNING THE GATHERING OF DEAD WOOD 53 GREEN ANGELLIGHTS 54 EYES INSIDE 55 THE HYDASPES 56 SLEIGH BELLS 57 ORIFICE 58 PECULIAR MORNING 59 W H E R E 60 THE TREASURE SHIPS 61 HANNIBAL 62 THE GATHERING OF DEAD WOOD *************************************************************** UNDULATE, MY TONGUE My tongue undulates, a wave to shore, knocks a vigorous reef, then slides to sea once more. The coral pink horizon of the mouth, cavernous shores, my tongue laps pier white teeth in servitude like an oar. Heavy drifting, bobbing as a buoy, the tongue sinks slowly down before surprising saliva going ashore. 9 *************************************************************** RAIN FILM On the night of the rains, water was oozing out from the sky's swollen stitches, a rash developed across the meaning of the heavens. The wooden floors of my attic place strove for a deeper tone, a hoarse calling grew louder as I paced trying to see rain. I followed the gravity of the treasure hunt where each bounce meant a slap across a table top of tension, where the window basted winter black rain and silence paid another call. I am as much as this water flower, rain. I am as impressionable as the city that stops for rain. And I lack the same substance that dooms water to be a soft pillow feather; excepting this, I may still shatter this thing, March routine existence by dabbling in destruction. 10 *************************************************************** ISLES AND RIVULETS On your brow, the steppes of Asia are fetched by deep set eyes A colouring distict with mystery perceives the Polos greeting the Great Khan, the golden isle of Ciphangu, the sultry east. I revel in the mystery of my warm, wet flower. A pollen bee laden with honey squirms, embraces with me, in the abrupt opening of our jar, serrated edge of the known world. The air, buoyed and elastic with pleasure, belongs to me. Tawny, pale rose, your oriental skin peels back the tiny veils separating our cultures. I peer in to find Confucian lilac, towers of silence, opal pheasants. Harmony strains all dogmas. Rain darts penetrate the gathering pools. The tiny plastic cup my life, inseparable from your hand. 11 *************************************************************** SEAWARD Whirl of patterned images, deep seascape painting hovering, rustle, chokecherry grown in dark pigmented stunted cove - animal growl of pilotless sea, metallic twinkle of sun bright, stealing bitter white all bird life rockward; traces skimming the intrusion of pebbly shore, autumnal night. 12 *************************************************************** MALINGERING Malingering, increase drift of censure infrared blotted one. No noise, just the splashing of the sea endless, shrill birds gaping a way into the night's chill. 13 *************************************************************** VOYAGE The mystique of the sea, where waves act as snares, hang boughs over wet blackness wherever winds die driven ashore. Melancholy vastness-its pleasure the dim lights swallowed in glutton happiness the further I search the sea. 14 *************************************************************** CHRYSALIS Fury of chrysalis, or crepuscular caterpillar's roosting nest, Fidgeting cocoon dry in annoyance and the reptile caress Of empty sound. See it near the trestle, Above broad November leaves, Before winter's closing eye. Comatose pupa, infringing In dormancy well primed, And charged with action Its focus, brittle reality, Distant life unaware around even itself. Waiting, the syringe filled ecstasy is Barest of autistic treasure Satiate, 'til spilled and Molten over toughened silken hide, The outer dormitory Hustles to rejoin Compost spring Controlling a tidy, energy world. 15 *************************************************************** THE BELLS The dangling of bells ...amid faint tingling, the inspirational nature of their lies between each peal. Classical repertoire, then dryness. Heavy swelter, the green ore iron casting of the golden bell clangs into the night. Its dash against dry stone a special brand of hideousness. Naked madness, the jangle of the noise torn from the throat of night, tucked between the rage of sightless villagers; their torn members toys of plastic wedged obscene within the dash of withered bells. 16 *************************************************************** THE WORLD OF DYING LOVE The long finger of blackness is holding its head for us. Dingy bue is its shade, comatose in movement, hazarding a slow swiftness, it inches toward us. Relief comes fitfully. The dragon alone, an upstart crowned with drunken spending, has horse colours as ribbons with his eyes. It cradles a breast of trembling bone. Misercorde, Misercorde. I dreamt I saw skeletal slackness dangling; the poverty of touch is a casket with love in rumbling sockets. Craziness is the passion of the engulfed, dribbling pleasantly. Presentations extended beyond and into themselves. Slackness schemes with invalid awareness in a brothel of hope. 17 *************************************************************** Part II WHISPERS DARKENING GREEN My mind, rarely with me alone, parts with energy, the floor boards scuffed and landing beams just roosts big enough for pigeons on leave from fields darker for their grain. 19 *************************************************************** WHISPERS Suppose and this is just supposing, though it is a supposition of the highest order, I were to die tomorrow A roar denoting silence? At work, if tradition is the dictate, something eulogistic would find itself being said. I am more calm. I perceive their layers more shrilly. Past the lipservice and shocked surprise, whispers, rumours and the grapevine would bruit around a different legacy. And the open bier? An embrassassment. What more could be left unsaid? 20 *************************************************************** TRESPASS I would imagine the eyelids fail, fall closed, shut, as icicles sit on porch doors where old nails rust. 21 *************************************************************** FOREST SPITTLE The preciseness of that little moment, bowler eyes in hot, top rays effervescent through spongy forest gloom, the wet of the happy unreconciled with the dry outside. 22 *************************************************************** SEAGULLS I see many thoughts from a window. Seagulls in the fashion of summer and leaves as they quit the year. Sense impressions, if they are this, are only images of what we refuse to follow. 23 *************************************************************** LA DOUCE MER Too greedy hormonal levels, savouring drives and swooned walrus tusks behind the deep belly of tireless sea, propel ocean crates looser for their water than blood to devour cavernous shores, swilling miniature inland sweet water seas that father Champlain called douce mer lakes; dubbing there a blow for courage. 24 *************************************************************** GOURDS A cemetery overgrown such that each tombstone is a pauper fungus crowded, dark with leaves, or hollow gourds hideous, in a forest sleep. 25 *************************************************************** RESIGNATION Petals that fall into a woodland pool are servers at a banquet. Each one dresses for the occasion like an employee with regrets, that leaves the house in a somber mood the morning after his resignation. 26 *************************************************************** THE BREATH OF CANDLES The breath of candles, hot and murky, on the still air. Giant factories wave wands in luxury; contaminate roving commuter bands brown, from dirt knitted through white bread hair. 27 *************************************************************** GREEN EYE SHIELDS I have stars drying in my eyes. Heavy seas, in wind. They have sealed me from the heavy dragging sockets, otherwise my green eye shields. I have scars all over my eyes, to bear the horrible imaginings that try to come through. The horror of being alive. The crusty scenes that pry into trees glide down, touch me, a glitter of awful gold steals me, in its triumph of glow. 28 *************************************************************** INVESTITURE Our nights have cruel eyes And have cast us about too thinly, Fallen upon us, Divested the attention of the wind. Night comes to develop us, Will polish our minds with A precision lasting 'til daybreak. Its damp coolness peaks with wretched effect. Autumnal decay Whereby the slow process of vegetation Displeases the nostril, Is but a preamble to greater violence Leading tepid legislation in an orchestra Toward greater effect. The thin harmony of our lives Positions no alarms whereby We might use them. The fabric mixture of existence, nothing but investiture, Props to heighten necessary lies, Strains at extinction, The volcanic instrument life itself. Goals are these same vehicles To operate weak desires. Frustration defeats a goal That will not fit. 29 *************************************************************** THE SPOKEN WORD I touch your face - where strands of whispery hair dangle your thoughtful gaze through mine. Clutching, all the words not said lie pale and broken beneath forgery lies. Eyes, our facial minnows, the mirror images, flash too brightly out of the shallows, out of their stony commitments towards believing we cannot agree. 30 *************************************************************** Part III TESTIMONY SMEARS A snowy morning unfolding I smear my eyes the crimson details from my life. 32 *************************************************************** TESTIMONY When snow falls, there lives the shrill cries that leaves are not alone. Each flake, a mute testimony not a leaf falls before surgery prunes the individual tree. Cold November after brown and white conspire, the forest leaves a bleeding crust, scar tissue from natural wars. 33 *************************************************************** FORTRESS SNOW The embankment lies as heavy edges on our lives. The shadows of the rock, piled drifts huge monotony's ledge, accumulations by the side of the tree wear thin visages; the breath of summer eclipsed. Snow reigns supreme; teeters about the rim of the city's existence. Pettiness of man's realm - pretty foliage of the transient, wrappings upon our lives brittle near the storm. The reply of the eternal, fire on stone blazons reality the peaked remains of snow streaked sun. Immensity governs us; clarity of the temporal fire set by the staccato of man's rhythm. 34 *************************************************************** CIENFUEGOS The white pin wheel of heat turns up the grasses' edge. Some dried plant stalks shrivel, then melt openly into layers of fire. It is end - time for the community's Christmas trees. Something akin to burnt offerings, reluctant souls or hedging captives kept alive ghoulishly for some cannibal's feast; this festival of crackling. They have served their purpose, now. Bound, no faggots need be applied. Contumely, the quiet desperation darkens the child's face. The headlights rain down on Christmas' debris. A hundred little fires as cigarette warnings daub the night air. The forest of smoke, canyon of the torch, where black marauders poke the nostril. 35 *************************************************************** DEVASTATION Little red berries are the crop of this stump tree. They are the prize stubble where little growth is come. A transplant of hair after a serious illness or after fire ravages the body's wilderness is that first sip of broth taken. Little by little, they bring cautious hope that more will stumble into other pocket crevices, the bits of life amidst the spores of stillness. 36 *************************************************************** BEE AN APPLE The taste of an apple, the cringing of a bee as sun stops turning a ladle over their skins; the fire gold stains on apple's skin, the honey yellow, black bits a hornet wrinkles in. 37 *************************************************************** EMPTINESS The threadbare uniforms we let stare at others we would refuse ourselves. The bare walls, misunderstanding, Support nothing, taut empty sounds. The inclusion of everything excludes nothing except why it was done. 38 *************************************************************** CLAWS Unfolding gazes throw over the little reality surly door. The dumb clatter of ripples shudder the better life. 39 *************************************************************** MOON DARK WORLD The trees are forming hands to cloak the sky with pillow whispers, until the soft equilibrium behind laughing eyes departs down the moon dark world. 40 *************************************************************** THE ELYSIAN FIELDS The Elysian fields gained commensurate with ability quiet and shimmering in the sun; varied realms inverted islands the angry blessed ones - thrice born with the option to survive on into flesh and blood form. The conveyer belt of souls carrying the damaged ones far into the night, spitting out the lukewarm with plenty of latitude to manoeuvre in between. Lavender and the dye from purple shells in piercing shrieks extracting the enacted will of Nietzscheans before their time; fledglings in a world ill begotten and barely within a choosing. 41 *************************************************************** BARBARY WHITE How death will steal, from life, to claim us all, Happy to wrap us in barbary white, By tapping ash tight fingers, the steel laws of fate, Will deaden our faces, wrapping our feelings from earthly sight. 42 *************************************************************** Part IV THE BURNING PENCIL SKETCHES Staying home, I caught naughty elves watering my piano, growling inside my head. Faucet drops beating out in harmony a drum tatoo to the tune of a plugged drain, the careless postures of indifference retold lives lived on spindle shanks caught on the obligatory insipid train of obliging a pantry full of ones you love. 44 *************************************************************** EMPTY WARRIORS The jungle where the meow goes in, is a forest for hoodlums. Trucking up, the empty warriors breakfast on lost impatience, apricot fields away. Now see them speed away. Their lollipop cars drizzling in the sun. Their apathetic stares really cantaloupe harvests, left too long in the sun. 45 *************************************************************** THE KEEPER OF THE JEWEL The keeper of the jewel. I file it down, keep it smooth. I can be found any day, busy disguising the jaded and unproved. I follow forget-me-nots in a forest pool. I undo knots in groves of shallow trees. I pretend unfit sores can sit alongside water smoothed pebbles in a sunlit stream. 46 *************************************************************** ROWING WITH CRAYONS I see children rowing with crayons across a park lagoon. They are sagging, they have just killed a blackbird playing: the lot of you, scribbling to school. Later on, I retrieved the pieces of paper, ink covered, from a field. 47 *************************************************************** COLLUSION A surtax on the ecosystem; so many raindrops, mists and bud breakings record spring days, that the movement of sap fluids and other vital juices involves all life on a colossal scale; beyond puny human understanding why green shoots shed restrictions at the parochial level. 48 *************************************************************** GOSSAMER THREADS I feel like cutting my finger, hiding upside down clinking a canteen shelling peas along the floor. From the focal point above anything could be. Light dripping upon forlorn gossamer spreads like a balloon. Merely the vantage point of a perspective quietly threading. 49 *************************************************************** A FACE A face in the mist, with rain around, clings to bare leaves frowning. A face through the mist, convulsed, plays stationary, perching from twigs. A face, not knowing it, trust it is good. 50 *************************************************************** THE BURNING The sun is a burning magnet on the water. Durable, our boat is a sizable pretzel in the arms of the bay. Warmth with contortion, the clash of passions tug the funnelled swooned water. Greenery, that inlet of the ocean, lies precarious and submerged. Life, subsidized by water, is within its hope, bubbling in embers, froth drunk with suds hammered against the boat's edge. What is this, this sky home of the transparent sun. Blue agony, burning up with delerium, the wet pastel illusion slides against our craniums. Crass, crass the movement of the waves across a low bow, excessively pleasant. All the more troubled vistas blue with hegemony over earth, drowsiness dropping a plague of lapping edges; a strength pried from graves. This sea of ours sags, heaves in deep displacement, fulfills my liquid caress. 51 *************************************************************** Part V THE GATHERING OF DEAD WOOD GREEN ANGELLIGHTS Green angel lights stream from the willow tree, in direct symmetrical bearing three birds are drawn to it. In gold, soft patches of light overreach the earth, shadows trace ridges to surround each teak blown colour. With fakir lowliness, the throb of water takes petals from the sun, shimmers its passing breath to a euphony sobbing in movement. 53 *************************************************************** EYES INSIDE There's cadence a real movement to the worlds the gaze inside a flicker of your eyes. 54 *************************************************************** THE HYDASPES And I, cooing in my saddle, with lost time. His weapons and horses the finest. Beloved of God, engendered fiercely for the occasion - with pin stripes and a drinking vessel of the most expert silver. Pharaonic splendor, ingots of the heaviest gold borrowed sun bright yet so untarnished they hold up the morning sky. Two hands encase that handsome volume - finest of imported leather and saddle soap transparent to the eye so that all might ring forth its belated vision; not be dreary earthed with brine but terse, furtive inside the gathering glade. 55 *************************************************************** SLEIGH BELLS In fury, come the Heavens, the days, our horsebells upon a crystal sleigh. Up slowly until, the horse carriage wet and coming up the evening walk pauses; then snow before a vanished world. 56 *************************************************************** ORIFICE To perforate in adumbration, as obviator, the sphincter muscle of intensity; then paint the world in aperture, a picture of one's mind. 57 *************************************************************** PECULIAR MORNING As if every living thing lived, breathed its existence explained why water took the shape of a container, studied sharpened awareness of cold, broke night spots onto a peculiar morning. 58 *************************************************************** WHERE A dark, shadow grey moth rests along the grim hue of brick, its spattered orange cream underwings scream a Halloween defiance to the bleariness of stone and city. And before each fold of its wings, there rests beyond all the pale fire and din of a thousand slow eyed empires, feeling the seethe of their existence spent in a fidgeting cauldron where mediocrity camps with her dangerous throne. 59 *************************************************************** THE TREASURE SHIPS Rich ornamental procession enough wealth to dazzle a Prester John, Sheba's queen, even the fawning burghers of Rothschild's domain. Reams of it, Park Avenues in torrents down a mountain side; Eldorados, the gardens of Babylon become shimmering in the sun; this vulgar display, this sheer ostentation. Such are the waters of the rich I now approach. Peach gold fabulous wealth. More men of substance here than all the proverbial luxury since antiquity, - talents, ingots, ducats - bars so heavily encrusted with gems the very floor boards groan with the largesse. Never a Buddha's tooth Pierpont scheme, crown or outstretched finger did circumnavigate more treasure than this eye swelling around that one treasure chest procured. Like a ship glutting the Spanish Main - my treasure ship - she vies with me my memories Midas' gold or Krupp's iron wealth secured all of which is a ransom parleying against the crowned heads of this world. 60, 61 *************************************************************** HANNIBAL When Hannibal mowed down Romans with elephants, his skill, his artistry, had the effect of a painter's brush. He, scraping paint off an easel, would thrust empires down, trample Graeco - Romish influence into paint spattered dust. He neither was aware nor knew, the Alps and Sabine allies, Capua and other Latin tribes would ruin his oath, cause Baal, the false god, to desert Punic prayers. 62 *************************************************************** THE GATHERING OF DEAD WOOD The gathering of dead wood - driven, pinched in faces between the strain of Van Gogh's setting - had all the more realism hastening down that leaden street. Churning sockets, burdened with the duress of suffering, the street in vigorous winter raced like a bootblack up from the river. Hedged by black stems called trees, rows of withered houses and dim bread shops propositioned rough headlights along a promenade of ice stalks and careening streetlamps. Fast in the cold, faces were juggernauts skating treacherously over the pond of that closed city. 63 End of the Project Gutenberg EBook of Whispers, by Paul Cameron Brown *** END OF THIS PROJECT GUTENBERG EBOOK WHISPERS *** ***** This file should be named 30101.txt or 30101.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/3/0/1/0/30101/ Produced by Al Haines. 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://www.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. This particular work is one of the few copyrighted individual works included with the permission of the copyright holder. Information on the copyright owner for this particular work and the terms of use imposed by the copyright holder on this work are set forth at the beginning of this work. 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. Each eBook is in a subdirectory of the same number as the eBook's eBook number, often in several formats including plain vanilla ASCII, compressed (zipped), HTML and others. Corrected EDITIONS of our eBooks replace the old file and take over the old filename and etext number. The replaced older file is renamed. VERSIONS based on separate sources are treated as new eBooks receiving new filenames and etext numbers. 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. EBooks posted prior to November 2003, with eBook numbers BELOW #10000, are filed in directories based on their release date. If you want to download any of these eBooks directly, rather than using the regular search system you may utilize the following addresses and just download by the etext year. http://www.ibiblio.org/gutenberg/etext06 (Or /etext 05, 04, 03, 02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) EBooks posted since November 2003, with etext numbers OVER #10000, are filed in a different way. The year of a release date is no longer part of the directory path. The path is based on the etext number (which is identical to the filename). The path to the file is made up of single digits corresponding to all but the last digit in the filename. For example an eBook of filename 10234 would be found at: http://www.gutenberg.org/1/0/2/3/10234 or filename 24689 would be found at: http://www.gutenberg.org/2/4/6/8/24689 An alternative method of locating eBooks: http://www.gutenberg.org/GUTINDEX.ALL *** END: FULL LICENSE ***