The Project Gutenberg eBook of Waste Not, Want
    
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world 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. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.

Title: Waste Not, Want

Author: Dave Dryfoos

Illustrator: Kelly Freas

Release date: November 7, 2009 [eBook #30416]

Language: English

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


*** START OF THE PROJECT GUTENBERG EBOOK WASTE NOT, WANT ***




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









[Illustration: _Illustrated by Kelly Freas_]


WASTE NOT, WANT

    _Eat your spinach, little man! It's good for you. Stuff yourself
    with it. Be a good little consumer, or the cops will get you.... For
    such is the law of supply and demand!_

BY DAVE DRYFOOS


Panic roused him--the black imp of panic that lived under the garish rug
of this unfamiliar room and crawled out at dawn to nudge him awake and
stare from the blank space to his left where Tillie's gray head should
have been.

His fists clenched in anger--at himself. He'd never been the sort to
make allowance for his own weakness and didn't propose to begin doing so
now, at age eighty-six. Tillie'd been killed in that crash well over a
year ago and it was time he got used to his widowerhood and quit
searching for her every morning.

But even after he gave himself the bawling out, orientation came slowly.
The surroundings looked so strange. No matter what he told himself it
was hard to believe that he was indeed Fred Lubway, mechanical engineer,
and had a right to be in this single bed, alone in this house his Tillie
had never seen.

The right to be there was all wrong. He disliked the house and hated all
its furnishings.

The cybernetic cooker in the kitchen; the magnetically-suspended divans
in the living room; the three-dimensional color broadcasts he could so
readily project to any wall or ceiling; the solartropic machinery that
would turn any face of the pentagonal house into the sun or the shade or
the breeze; the lift that would raise the entire building a hundred feet
into the air to give him a wider view and more privacy--all left him
dissatisfied.

They were new. None had been shared with Tillie. He used them only to
the extent required by law to fulfill his duty as a consumer.

"You must change your home because of the change in your family
composition," the Ration Board's bright young female had explained,
right after Tillie's funeral. "Your present furnishings are obsolete.
You must replace them."

"And if I don't?" He'd been truculent.

"I doubt we'd have to invoke the penalties for criminal
underconsumption," she'd explained airily. "There are plenty of other
possible courses of action. Maybe we'd just get a decision that you're
prematurely senile and unable to care for yourself. Then you'd go to a
home for the aged where they'd _help_ you consume--with forced feedings
and such."

So here he was, in this home-of-his-own that seemed to belong to someone
else. Well, at least he wasn't senile, even if he did move a little
slowly, now, getting out of bed. He'd warm up soon. All by himself. With
no one's help.

And as far as these newfangled gadgets in the bathroom were concerned,
he could follow any well-written set of directions. He'd scalded himself
that time only because the printed instructions were so confusing.

He took a cold shower this time.

When the airtowel had finished blowing and he was half dry--not wholly
dry because the machine wasn't adapted to people who took ice-cold
showers--he went in to the clothing machine. He punched the same few
holes in its tape that he put there every day, stood in the right place,
and in due course emerged with his long, rawboned frame covered by
magenta tights having an excessively baggy seat.

He knew the costume was neither pretty nor fashionable and that its
design, having been wholly within his control when he punched the tape,
revealed both his taste and his mood. He didn't care; there was no one
in the world whom he wanted to impress.

He looked in the dressing room mirror not to inspect the tights but to
examine his face and see if it needed shaving. Too late he remembered
that twenty years had elapsed since the permanent depilatories were
first invented and ten since he'd used one and stopped having to shave.

There were too many changes like that in this gadget-mad world; too many
new ways of doing old things. Life had no stability.

He stalked into the kitchen wishing he could skip breakfast--anger
always unsettled his stomach. But everyone was required to eat at least
three meals a day. The vast machine-records system that kept track of
each person's consumption would reveal to the Ration Board any failure
to use his share of food, so he dialed Breakfast Number Three--tomato
juice, toast, and coffee.

The signal-panel flashed "Under-Eating" and he knew the state
machine-records system had advised his cybernetic cooker to increase the
amount of his consumption. Chin in hands, he sat hopelessly at the
kitchen table awaiting his meal, and in due course was served prunes,
waffles, bacon, eggs, toast, and tea--none of which he liked, except for
toast.

He ate dutifully nevertheless, telling himself he wasn't afraid of the
ration-cops who were always suspecting him of underconsumption because
he was the tall skinny type and never got fat like most people, but that
he ate what the cooker had given him because his father had been
unemployed for a long time during the depression seventy-five years
before, so he'd never been able to bring himself to throw food away.

Failure to consume had in the old days been called "overproduction" and
by any name it was bad. So was war--he'd read enough about war to be
glad that form of consumption had finally been abolished.

Still it was a duty and not a pleasure to eat so much, and a relief to
get up and put the dirty dishes into the disposal machine and go up
topside to his gyro.

       *       *       *       *       *

Disgustingly, he had a long wait before departure. After climbing into
the gyro and transmitting his flight plan, he had to sit seething for
all of fifteen minutes before the Mount Diablo Flight Control Center
deigned to lift his remote-controlled gyro into the air. And when the
signal came, ascent was so awkwardly abrupt it made his ears pop.

He couldn't even complain. The Center was mechanical, and unequipped to
hear complaints.

It routed him straight down the San Joaquin Valley--a beautiful sight
from fifteen thousand feet, but over-familiar. He fell asleep and
awakened only when unexpectedly brought down at Bakersfield Field.

Above his instrument panel the printing-receiver said "Routine Check of
Equipment and Documents. Not Over Five Minutes' Delay."

But it could take longer. And tardiness was subject to official
punishments as a form of unproductiveness. He called George Harding at
the plant.

Harding apparently had been expecting the call. His round bluff face
wore a scowl of annoyance.

"Don't you ever watch the newscasts?" he demanded angrily. "They began
this 'Routine Check' you're in at five this morning, and were
broadcasting pictures of the resulting traffic jam by six. If you'd
filed a flight plan for Santa Barbara and come on down the coast you'd
have avoided all this."

"I'm not required to listen to newscasts," Fred replied tartly. "I own
the requisite number of receivers and--"

"Now, listen, Fred," Harding interrupted. "We need you down here so
hurry up!"

Fred heard him switch off and sat for a moment trembling with rage. But
he ended by grinning wryly. Everyone was in the same boat, of course.
For the most part, people avoided thinking about it. But he could now
see himself as if from above, spending his life flitting back and forth
between home and plant, plant and home; wracking his brain to devise
labor-saving machines while at the plant, then rushing home to struggle
with the need to consume their tremendous output.

Was he a man? Or was he a caged squirrel racing in an exercise-wheel,
running himself ragged and with great effort producing absolutely
nothing?

He wasn't going to do it any longer, by golly! He was going to--

"Good morning!" A chubby young man in the pea-green uniform of a
ration-cop opened the door and climbed uninvited into the cockpit. "May
I check the up-to-dateness of your ship's equipment, please?"

Fred didn't answer. He didn't have to. The young officer was already in
the manual pilot's seat, checking the secondary controls.

In swift routine he tried motor and instruments, and took the craft
briefly aloft. Down again, he demanded Fred's papers.

The licenses that pertained to the gyro were in order, but there was
trouble over Fred's personal documents: his ration-book contained far
too few sales-validations.

"You're not doing your share of consuming, Oldtimer," the young cop said
mildly. "Look at all these unused food allotments! Want to cause a
depression?"

"No."

"Man, if you don't eat more than this, we'll have mass starvation!"

"I know the slogans."

"Yes, but do you know the penalties? Forced feeding, compulsory
consumption--do you think they're fun?"

"No."

"Well, you can file your flight plan and go, but if you don't spend
those tickets before their expiration dates, Mister, you'll have cause
to regret it."

With a special pencil, he sense-marked the card's margins.

Fred felt that each stroke of the pencil was a black mark against him.
He watched in apprehensive silence.

The young cop was also silent. When finished he wordlessly returned the
identification, tipped his cap, and swaggered off, his thick neck red
above his green collar.

Fred found he'd had more than enough of swaggering young men with beefy
red necks. That added to his disgust with the constant struggle to
produce and consume, consume and produce. Vague, wishful threats froze
as determination: he absolutely wasn't going through any more of it.

He filed a flight plan that would return him to his home, and in due
course arrived there.

The phone rang in his ears as he opened the cockpit. He didn't want to
answer, and he stayed on the roof securing the gyro and plugging in its
battery-charger. But he couldn't ignore the bell's insistent clamor.

When he went downstairs and switched on the phone, George Harding's
round face splashed on the wall.

"Fred," he said, "when we talked a few hours ago, you forgot to say you
were sick. I phoned to confirm that for the Attendance Report. Did this
call get you out of bed?"

He could see it hadn't. Therefore Fred knew he must be recording the
audio only, and not the video; trying to give him a break with the
Attendance people and coach him on the most appeasing answers.

A well-meant gesture, but a false one. And Fred was fed up with the
false. "I forgot nothing," he said bluntly. "I'm perfectly well and
haven't been near bed."

"Now, wait," George said hastily. "It's no crime to be sick.
And--ah--don't say anything you wouldn't want preserved for posterity."

"George, I'm not going to play along with you," Fred insisted. "This
business of producing to consume and consuming to produce has got me
down. It's beyond all reason!"

"No, it isn't. You're an excellent mechanical engineer, Fred, but you're
not an economist. That's why you don't understand. Just excuse me for a
minute, and I'll show you."

He left the field of view. Fred waited incuriously for him to return,
suddenly conscious of the fact that he now had nothing better to do with
his time.

George was back in less than a minute, anyhow. "O.K.," he said briskly.
"Now, where were we? Oh, yes. I just wanted to say that production is a
form of consumption, too--even the production of machine-tools and
labor-saving devices. So there's nothing inconsistent--"

"What are you trying to do?" Fred demanded. "Don't lecture me--I know as
much econ as you do!"

"But you've got to come back to work, Fred! I want you to use your
rations, put your shoulder to the wheel, and conform generally. The
policing's too strict for you to try anything else, fella--and I like
you too well to want to see you--"

"I don't need you to protect me, George," Fred said stiffly. "I guess
you mean well enough. But goodbye." He switched off.

       *       *       *       *       *

The silence struck him. Not a sound stirred the air in that lonely new
house except the slight wheeze of his breathing.

He felt tired. Bone weary. As if all the fatigues of his eighty-six
years were accumulated within him.

He stood by a window and stared blindly out. Everyone seemed to have
been heckling him, shoving him around, making him change all his ways
every minute. He didn't want to change. He didn't want to be forever
adapting to new gadgets, new fads, new ways of doing things.

He thought of the villages of India, substantially unchanged for three,
four, five thousand years. The villagers had no money, so they couldn't
be consumers. Maybe they had the natural way to live. Statically. Also,
frugally.

But no. It was too frugal, too static. He'd heard and read too much
about the starvation, pestilence, peonage and other ills plaguing those
Indian villagers. They didn't have life licked, either.

The Indians had not enough, the Americans, too much. One was as bad as
the other.

And he was in the middle.

He left the window he'd been staring from unseeingly and walked to the
foyer control-panel. There he pushed the button that would cause the
house to rear a hundred feet into the air on its titanium-aluminum
plunger.

Then he went back to the window to watch the ground recede. He felt a
hand on his shoulder. He decided the sensation was an illusion--a part
of his state of mind.

A young man's voice said, "Mr. Lubway, we need you."

That was a nice thing to hear, so Fred turned, ready to smile. He didn't
smile. He was confronted by another ration-cop.

This one was a tall young man, dark and hefty. He seemed very kindly, in
his official sort of way.

"Mr. George Harding sent me," he explained. "He asked us to look you up
and see if we could help."

"Yes?"

"You seem to have been a little unhappy this morning. I
mean--well--staring out that window while your house rises dangerously
high. Mr. George Harding didn't like the mood you're in, and neither do
I, Mr. Lubway. I'm afraid you'll have to come to the hospital. We can't
have a valuable citizen like you falling out that window, can we?"

"What do you mean, 'valuable citizen'? I'm no use to anybody. There's
plenty of engineers, and more being graduated every semester. You don't
need me."

"Oh, yes, we do!" Shaking his head, the young ration-cop took a firm
grip on Fred's right biceps. "You've got to come along with me till your
outlook changes, Mr. Lubway."

"Now, see here!" Fred objected, trying unsuccessfully to twist free of
the officer's grip. "You've no call to treat me like a criminal. Nor to
talk to me as if I were senile. My outlook won't change, and you know
it!"

"Oh, yes, it will! And since you're neither criminal nor senile, that's
what has to be done.

"We'll do it in the most humane way possible. A little brain surgery,
and you'll sit in your cage and consume and consume and consume without
a care in the world. Yes, sir, we'll change your outlook!

"Now, you mustn't try to twist away from me like that, Mr. Lubway. I
can't let you go. We need every consumer we can get."




Transcriber's Note:

    This etext was produced from _If Worlds of Science Fiction_
    September 1954. Extensive research did not uncover any evidence that
    the U.S. copyright on this publication was renewed. Minor spelling
    and typographical errors have been corrected without note.







*** END OF THE PROJECT GUTENBERG EBOOK WASTE NOT, WANT ***


    

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

Creating the works from print editions not protected by U.S. copyright
law 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™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. 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™ 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™ License available with this file or online at
www.gutenberg.org/license.

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

1.A. By reading or using any part of this Project Gutenberg™
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™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
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™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law 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™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ 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™ 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™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than 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™ License must appear
prominently whenever any copy of a Project Gutenberg™ 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 in the United States and most
    other parts of the world 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. If you
    are not located in the United States, you will have to check the laws
    of the country where you are located before using this eBook.
  
1.E.2. If an individual Project Gutenberg™ electronic work is
derived from texts not protected by U.S. copyright law (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™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ 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™ 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™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.

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™ 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™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(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™ 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™ 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™ electronic works
provided that:

    • You pay a royalty fee of 20% of the gross profits you derive from
        the use of Project Gutenberg™ works calculated using the method
        you already use to calculate your applicable taxes. The fee is owed
        to the owner of the Project Gutenberg™ 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™
        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™
        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™ works.
    

1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ 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
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
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™ trademark, and any other party distributing a Project
Gutenberg™ 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 1.F.3. 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 MERCHANTABILITY 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™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
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™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ 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™’s
goals and ensuring that the Project Gutenberg™ 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™ 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 information page at www.gutenberg.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. 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 business office is located at 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

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

Project Gutenberg™ depends upon and cannot survive without widespread
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 www.gutenberg.org/donate.

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: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

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

Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,
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.