The Project Gutenberg eBook of Mr. Replogle's dream 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: Mr. Replogle's dream Author: Evelyn E. Smith Release date: November 14, 2023 [eBook #72120] Language: English Original publication: New York, NY: King-Size Publications, Inc, 1956 Credits: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK MR. REPLOGLE'S DREAM *** mr. replogle's dream By EVELYN E. SMITH This was a proud day in the life of modern art. This exhibition would prove that the machine could not conquer man. [Transcriber's Note: This etext was produced from Fantastic Universe December 1956. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.] _The Cimabue Gallery was the last stronghold of nostalgia--expensive nostalgia. Apart for the robot attendants--unfortunately necessary, the times being what they were--there was practically nothing machine-made about the Gallery, dedicated as it was to being more than a mere commercial venture. Evelyn E. Smith returns to these pages with a gently ironic story of men and dreams--the day after tomorrow...._ "This," said Mr. Ditmars, "is a proud day in the life of the Cimabue Gallery." "It is a proud day in the life of modern art," added Mr. Replogle, feeling that Mr. Ditmars was giving too parochial a picture of the situation, "for it proves with more force than ever that the machine will not conquer man." Both partners gazed with varying degrees of complacency at the large, brightly-colored oil paintings that covered the refined pastel walls of the Cimabue. There was almost nothing machine-made about the gallery--the thick, soft rugs had been hand-woven at fabulous expense by workmen in the less industrialized areas of the Middle East, the furnishings hand-carved by tribesmen deep in the heart of the Australian bush. The only exception was the robot attendants, which were, unfortunately, necessary, for no one paid attention to human beings any more unless they were top management or very high in the hierarchy of handcrafters. Cimabue could afford all this luxury, and more too, for, now that big business had become an art, art had become a big business. People saved the excess from their government subsidies--or, if they were lucky enough to have professional status, their salaries--to buy a painting, a holograph manuscript ... anything to distinguish their homes from the uniform grey mass of material comforts which the government bestowed on everyone alike. As a result, the partners were as wealthy as anyone outside the ruling class could hope to be. However, Mr. Replogle, at least, was not happy. He suffered from nightmares. "But where is Orville?" demanded the man from the _Times-Herald-Mirror_. "We haven't come to interview you two--you always say the same thing about every new artist you discover. In fact, we already have your words set up in type." Mr. Ditmars gave him a benign smile. "Orville's case is different. Never before in history has an absolutely unknown artist received such an immediate ovation from the public. Why, almost every picture on exhibit is already sold--the buyers have kindly allowed us to retain them on our walls for the duration of the show as a service to the public." "Cimabue is more than a mere commercial venture," Mr. Replogle added, wishing he could slip off for a paraspirin; his head hurt most mechanically. "It is a cultural institution." "Yeah, Orville did get pretty good write-ups," the _World-Post and Journal_ man conceded, "though any half-way decent artist sells like hotcakes these days. People naturally go for anything that's hand-made." And he fingered his hand-painted tie self-consciously. "But it can't last." This disturbed Mr. Replogle more than it should have. But he had been bothered for many years by his recurring dream--a dream so frightful that he did not dare to confide it to anyone because of its terrifying plausibility. And anything said or done by day that seemed to approach that midnight horror roused him to immediate defensiveness. "Oh, yes it can last!" he protested. "It will! It must! For art is the people's last bulwark against the machine--the one area which cannot be mechanized, which reassures the human race that it still is pre-eminent." "Kindly do not touch the pictures," the roboguard droned. "I was only feeling Orville's impasto," the lady from the _Woman's Own News_ defended herself. "Very thick." _I couldn't have told her to stop_, Mr. Replogle reflected bitterly. _Coming from me it would have been rude, but from a robot it's all right. Everyone knows a robot's only aim is to serve man. Our altruism depends on our individual consciences; theirs is built-in and, hence, more reliable._ "But where _is_ Orville?" the man from the _Times-Herald-Mirror_ persisted. "He was supposed to be here at three-thirty, and it's almost four now." "Softly, softly," said Mr. Ditmars. "The robobar doesn't open itself until four anyway, so you know you're in no hurry.... And, remember, a great artist mustn't be rushed--he is not a machine, you know." "Hervey McGeachin is bringing him," Mr. Replogle explained. "One could hardly hurry McGeachin," he added ... unnecessarily, for everyone knew that one didn't hurry the richest man in the United States--one awaited his pleasure. Beside being fabulously wealthy, McGeachin had the reputation of being something of a recluse, but this did not make him more newsworthy, for all members of top management tended to be a bit eccentric. The rank was hereditary--it took more than one generation for a family to begin to understand its machines--and there was a lot of inbreeding, with the usual results. "Orville is a protege of Mr. McGeachin's, isn't he?" asked the lady from _Woman's Own_. "Yes," Mr. Ditmars said. "All that was in the press release. He's one of Mr. McGeachin's employees. Mr. McGeachin discovered him personally, and he got in touch with _us_." Mr. Ditmars almost swelled with visible pride; Mr. Replogle wished he would exercise a bit more self-restraint. Such an open display of emotion was vulgar--almost mechanical, one might say. Especially since they themselves were management, in a way, although one didn't, of course, apply such a word to those who dealt in the arts and crafts. The general public feared and respected the management which governed them, but they loved entrepreneurs. "A factory hand!" _Woman's Own_ gushed. "What a story that will make!" The male reporters laughed as one male. "Where have you been all these years, cookie?" asked the _World-Post and Journal_. "I doubt if there's a factory left in the United States that isn't mechanized to the very hilt by now--with robot labor for the more specialized operations." "I know," she sighed. "Deep down inside of me I really know. I was just hoping. I suppose I am--" and she batted her eyelashes "--like all females, an incurable romantic. What _do_ you suppose Orville is, then?" "Might be a clerk," _Time-week_ suggested. "A lot of the big places still use live clerical help for tone, and, of course, you always need a few human beings around in case the machines break down." "I somehow got the impression that he was an executive," Mr. Ditmars said frostily. "Let's hope not. It would ruin the human element in the story. You can't expect our readers to identify with management." "A minor executive, that is," Mr. Replogle hastened to inform them, before Ditmars could open his big mouth again. "More like a shipping clerk." "Is Orville his first or his last name?" _Woman's Own_ wanted to know. "Just Orville," Mr. Ditmars said. "Like Rembrandt." "Of course Rembrandt did have a last name," Mr. Replogle pointed out. "He just isn't known by it." "And Orville's more like Grandma Moses, anyhow, I would say," commented the _Times-Herald-Mirror_. "He is a primitive, true," Mr. Replogle said judiciously. "If you insist upon pinning a label on him, you might call him a post pre-Raphaelite, with just a soupcon of Rousseau." "I didn't know Rousseau painted," the _World-Post and Journal_ man said, busily clicking on his typopad. "Not that one," Mr. Replogle told him kindly. "The other two." "How old is Orville?" _Woman's Own_ held her typopad at the ready. "How many children does he have? Is he married? Fond of animals? What does he eat for breakfast?" "For heaven's sake," Mr. Ditmars exploded, "it isn't the man himself that matters--it's the man as interpreted through his art! And you can see that art for yourself." He waved his arms toward the pale gallery walls. "Drink it in and absorb the essence of the artist." "But we'd like a little more factual data, as a point of departure. After all, our readers--" "All right, all right," Mr. Ditmars said before Mr. Replogle could stop him, "I'll give you all the facts we have--to wit, none. All we know about Orville we put into the release. McGeachin's been keeping him under wraps. We don't know a thing about him. He's eccentric--McGeachin, I mean." "Could be Orville also," the _World-Post and Journal_ suggested. Mr. Ditmars sighed. "Could be Orville also," he conceded. "It's more of a story if Orville is eccentric. You more or less expect it from management." "Well," Mr. Replogle said, unable to contain himself further--his head was really blasting off--"artists can be pretty peculiar people too." It was Mr. Ditmars' turn to glare at him. "Make way for Hervey McGeachin III and Orville," the robot at the door declaimed. "Make way...." Every head swivelled to catch sight of the well-known but seldom-seen financier, as he came jerkily through the crowd. All the journalists were dressed in the maroon or beige or navy synthetics of almost similar cut that mass production had enforced upon the entire population, save for the very wealthy. Gay knitted mittens, colorful plumed hats, rainbow-hued scarves--all of which were ostentatiously hand-made--showed that the pressmen were professionals and not mere government pensioners who could do nothing that a machine could not do as well or better. However, although there were no sumptuary laws as such, few of the journalists could afford more than one or two of these costly, status-making accessories. McGeachin was completely costumed in rugged individualist style. His scarlet silk hose, emerald satin knee breeches, swallow-tailed plum velvet coat, and starched white ruff made Mr. Replogle, who had been rather proud of his own pale blue brocade waistcoat and seal-skin mukluks almost sick with envy. _He's so hand-made he's practically mechanical_, he said bitterly to himself. McGeachin was followed by a Class Three, All-Purpose Manual Labor Robot, well-burnished but of rather an early pattern. Surely, Mr. Replogle thought, if the financier had to use a mechanical man, and personal attendants were far more hand-made, he could at least have got a more recent model. "Welcome to Cimabue, Mr. McGeachin," Mr. Ditmars and Mr. Replogle said almost simultaneously. "But where is Orville?" the senior partner added. McGeachin pointed with his long green cigar. "This is Orville," he said in a crisp metallic voice. Mr. Replogle could feel himself growing pale all the way down to his mukluks. This was precisely the way his nightmare had always begun. Only now it was reality ... or was it? Perhaps he was back in the dream again. He could close his eyes and, when he opened them, he would be lying in his own standard air-conditioned toti-comfort sleeplounge under his own satin-covered, goose-down filled luxury quilt. "A robot!" he could hear Mr. Ditmars wail, as the typopads began to click thinly, his voice somehow sounding far away. "How could you--why didn't you let us know he was a robot beforehand?" Mr. Replogle opened his eyes and nothing had changed; it was all real--it was the end. "Because you would have discriminated against him," Hervey McGeachin was saying, his grey face shiny with excessive emotion. "Everybody discriminates against my poor robots. Trustworthy, hard-working, clean, loyal to a fault--yet everybody discriminates against them merely because they're machines. I knew that, if I had told you he was a robot, you would never have hung his pictures in Cimabue, in spite of the fact that it was I who recommended him." Top management or no, Mr. Replogle felt he must speak; there were principles at stake. The dismal future of humanity rested somehow in his own shaking hands. "Sir," he said, in a hoarse voice, "you have not dealt fairly with us. You said that this Orville was a protege of yours." "And so he is." McGeachin put a thick, unmuscular arm around the robot's hard shoulders. "He is my protege and friend and I don't care if people do call me a robot-lover." There was a gasp from the reporters, even those representing the liberal press. McGeachin pointed his cigar at them. "Listen," he said. "Autobiographical note." Typopads began to click. "Up until the age of seventeen I hardly knew there was anybody on the planet but robots. My father didn't have time to mess around with kids, since he believed in running all of his multifarious industries personally. I, myself, though I tour the factories only once a year, have succeeded, by means of a computer and a ouija board, in increasing what little remained of his vast fortune after taxes to an amount that is ten times as great as his was at its peak." "How do you spell _ouija_?" the man from the _World-Post and Journal_ interrupted. "So," McGeachin continued, after affably spelling the word and making a few adverse remarks on the sad state of current education, "during my childhood, I was left entirely in the care of robots, and I was a happy, carefree lad until I was sent to Harvard. There I discovered the dark truth which has over-shadowed my life ever since and rendered me a virtual recluse--that there are also large numbers of people in the world. Give me a robot, any time. Trustworthy, hard-working, clean, loyal to a fault, and, in Orville's case, artistic also. Tell 'em how you started in to paint, Orville." "Well, it was like this, gents," Orville said in a voice like a rusty hinge. "I work for the Perfect Paint Section of the Superior Chemicals Division of the Universal Materials Corporation, which is a subsidiary of the McGeachin interests, and, as I'm getting along in gears, I was put onto artists' oil colors, which are individually ground, like all the artists nowadays want 'em to be--" "In all McGeachin products, from paints to parliaments," the financier interjected, "the customer comes first, insofar as his desires are compatible with the mass-production methods necessarily imposed upon us by automation." "--And there was a little left over of some colors what wouldn't fit into the tubes, and the forebot says to me, he says, 'Throw 'em into the disposal, Orville--'" "--All the McGeachin robots have names. It gives that personal touch I like to have around my plants." There was something extraordinarily odd about McGeachin, Mr. Replogle felt, though he couldn't quite put his finger on just what it was ... something more than mere eccentricity, something curiously sinister. "--And I says to the forebot, 'Begging your pardon, sir, but if there was no other use for 'em, I would like to try my hand at painting a picture like on the pretty calendars Perfect Paint sends out every Christmas.' And he says to me, laughing-like, 'Well, if that's what you want to do with your restoration period, Orville, more power to you' ... which is--" the robot snickered "--a kind of little joke we have amongst ourselves at the factory." One of the Cimabue robots gave a laugh which Mr. Replogle cut short with a glance. "But I didn't know they could do that," the _Times-Herald-Mirror_ said plaintively. "Laugh, I mean." "Ah," McGeachin told him, "that's because you never bothered to understand the real robot. You don't look beyond the metal to the wires that vibrate underneath." "So I painted a picture on a piece of cardboard," Orville continued patiently, "--the side of a carton it was--and the picture was much admired in the plant, though I says it as shouldn't, and Mr. Pembroke, the superintendent, went so far as to ask if he might have it to hang in his office, which, of course, I was glad to have him do. And there it come to the attention of Mr. McGeachin when he was making his annual tour of the plant.... Mr. McGeachin is--" Orville approximated a modest cough "--by way of being a connoissoor." "When I saw that picture, I knew I was standing in the presence of solid genius," McGeachin took over. "Mind you, when I heard it had been painted by a robot, I was surprised myself, I admit it freely. But I was not prejudiced. I had spent all my life with machines and I knew of what fine handcraft they were capable. 'Why shouldn't a robot paint a picture?' I asked myself. 'No reason whatsoever,' I answered. And I was right, as is amply evidenced by this splendid and tastefully arranged display." He beamed at Mr. Ditmars, who groaned. "But it's impossible," the lady from _Woman's Own_ protested, looking as if only the dignity of her profession kept her from bursting into tears. "How could a robot paint a picture. How could it _want_ to paint a picture?" "I dunno," Orville, as the only one who could conceivably be expected to answer this question, said. "It just come to me like that. You could say I was inspired, I guess." "But inspiration is a human prerogative! If a robot can be inspired, what is left for people now?" "'Tisn't for me to say, miss," Orville said modestly, "only I don't see why we both couldn't be inspired. Peaceful coexistence, like. If robots are designed to serve man, they could do a better job of it if both--man and machine--work side by side harmoniously." "_Work!_" exclaimed the male reporters unharmoniously. Mr. Replogle closed his eyes. He had never expected to hear such a mechanical word in the chaste purlieux of his gallery--his and Mr. Ditmars' gallery, that was, but it didn't matter, soon it wouldn't be anybody's gallery. Reality was following the inexorable course of the dream and they were doomed. "No offense intended," Orville said hastily. "I meant work like maybe painting or knitting. I didn't mean machine work." "And why not machine work?" McGeachin demanded. "Why shouldn't man work with his hands instead of just crafting?" A little man, Replogle thought, would be lynched for saying a more than mechanical thing like that--mechanical, why it was down-right subversive!--but McGeachin was secure because of the position that he maintained only as a result of the sweat and toil of others. Only, of course, robots don't sweat. The light film that had begun to cover Orville was doubtless only excess oil. _Disgusting, nevertheless._ "Listen," McGeachin said, pointing his long, green cigar at the reporters. "Important announcement. I have decided to replace all my feedback equipment, except where the most delicate operations are involved, by people." The typopads clicked furiously. "You ask me why?" although no one had; they were much too stunned. "Because robots, though trustworthy, hard-working, clean, and loyal to a fault, have one drawback--they're expensive. A worker dies or gets sick, it's no extra money out of my pocket--I got to pay taxes for his welfare anyway. A robot breaks down, his loss is all mine. A human worker I got to take care of maybe six, seven hours a day, a robot twenty-four hours--and it isn't as if they worked all that time; they got to have rest periods too, or they wear out too fast. A human worker isn't my responsibility--a robot I got to look out for all the time." "But I thought you liked machines better than people," Mr. Replogle said. "So, is management expected to like labor? Is labor supposed to like management? Traditional enemies. I just figured out why I've been so unhappy most of my life--I _like_ my employees. It's unnatural. It's--" "Wrong, Mr. McGeachin?" quavered _Woman's Own_. "What do you mean?" "I'm going to put people in my factories and have robots at my dinner table.... They don't eat--" McGeachin chuckled fruitily "--so you can see what an economy move that would be." Nobody laughed. If McGeachin hadn't been top management--really top management--Mr. Replogle knew, he would have been torn to pieces. But top management was boss; it was government; it was divine right. Nobody did anything. "If the machine can replace man," Orville suggested, "why can't man replace the machine? Plenty of room for both.... Did I say something wrong?" he added, seeing the expressions on the human faces that surrounded him. "You're just ahead of your time, boy." McGeachin clapped him on the shoulder. "But you're right. Why can't man co-exist with the machine? Why can't robots paint pictures and write books and compose operas, while people work in the factories? Don't know just yet how it'll work out in the factories, but it'll be a great day for art!" "We're going to have to give the money back," Mr. Replogle said dully. "What money?" McGeachin asked, obviously annoyed by this anticlimactic remark. "The money paid for Orville's pictures. We cheated the buyers--unwittingly, it is true, but we cheated them nonetheless. We sold the pictures as hand-mades. They're machined." "But I have hands," Orville protested. Mr. Ditmars shook his head. "You're a machine. Replogle is right. Cimabue is ruined." "I'll make good your losses," McGeachin said in his crisp, metallic voice, and just then Mr. Replogle knew what had been bothering him all along about the financier. Despite his completely hand-made costume McGeachin looked exactly like a robot. The triumph of environment over heredity--or was it as simple as that, Mr. Replogle wondered. Everyone knew who Hervey McGeachin's father was, but who had his mother been? "No one can make good our losses," Mr. Ditmars told him. "Modern art has suffered a crushing blow from which it will never recover. The handwriting is on the wall." "You mean the typewriting," Mr. Replogle said. *** END OF THE PROJECT GUTENBERG EBOOK MR. REPLOGLE'S DREAM *** 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.