The Project Gutenberg eBook of Shades of Davy Crockett 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: Shades of Davy Crockett Author: Theodore Pratt Illustrator: Kelly Freas Release date: January 9, 2026 [eBook #77662] Language: English Original publication: New York: King-Size Publications, Inc, 1955 Credits: Tom Trussel (This file was produced from images generously made available by The Internet Archive) *** START OF THE PROJECT GUTENBERG EBOOK SHADES OF DAVY CROCKETT *** Shades of Davy Crockett by Theodore Pratt _There are a good many Davy Crocketts around these days, great and small. But though the memory and the glory of Davy have been sweeping the Nation for almost two years now, we’re quite sure that only Theodore Pratt--whose fine novels have made him a writer of considerable fame and stature--would have dared to revisit the Alamo in a fantasy wholly magical, and to place Davy once again--coonskin cap and all--at the hub of a young lad’s shining imagination._ =Davy Crockett had a real problem to solve. How to set things right when youth’s bright vision proclaimed that nothing was wrong.= The big man in the fringed buckskin outfit and coonskin caр, with the bushy tail hanging down from it in back, walked slowly along the busy city street. His broad brown face looked troubled. He had tried to carry his long rifle sideways over his arm, but he found that people bumped into it. He did not like the experience, and had said so, and now he carried the gun over his shoulder. His powder horn flapped slightly against his hip. The hard pavement hurt his moccasin-clad feet. Most people took little notice of him. Others looked at him, оссаsionally turning to glance back. A girl giggled. A few people made remarks, such as, “I don’t know how far they’ll carry this Davy Crockett thing.” A police officer stepped up to the big man and asked, “You got a license to walk around like this?” The big man drawled, “License? Do you got to have a license just to walk around?” “You do when you’re carrying a gun on the city streets, concealed or not,” the officer informed him. The tall man sounded bewildered. “I just fail to understand.” “Let me see that thing,” the officer commanded. He reached out to take the rifle. The big man, for an instant, held it back. Then, with a scowl, he let it go. The officer examined it curiously, then returned it with some disgust. “I guess you can’t do any harm with _that_ thing.” “I got no intention to do anybody harm,” the tall man replied, “but I can hit a bear at--” “Well, you go find yourself a bear. Maybe at the zoo. But get off my beat. What’s your name, any way?” “My name’s Crockett.” “Crockett?” “David Crockett.” The officer gave him a look. “Familiar-like,” the big man continued, “I’m known as Davy Crockett. There’s no reason why that should surprise you.” The officer commented, “My kid plays he’s Davy Crockett, too.” “But I am--” “Sure, sure. And pretty soon a publicity guy is going to come along here with a reporter and a photographer and they’ll get your picture for the paper and this Crockett business will get bigger than ever. Only I won’t be in your picture and have people laugh at me. Let them laugh at you alone.” “I don’t know all you’re talking about,” the big man said, “but it ain’t just like that.” “If it ain’t, then you’re pretty old to go around in an outfit like this.” “I’m truly Davy Crockett and nobody else.” The officer looked at him again. “Move on,” he instructed, “before I do something about you.” The big man moved on. He came to a store whose large window was filled with Davy Crockett clothing, caps, and all appurtenances, including knock-down miniature log cabins and replicas of the Alamo. Going inside, he was approached by a young male clerk, who smiled slightly when he asked, “What can I do for you, sir?” The tall man smiled back at this friendly greeting, which was the first one he had received. “Well,” he said, “I need a thing.” The clerk examined him and smiled some more when he said, “You look as if you have about everything in the Crockett line. I’m afraid our log cabins wouldn’t quite fit you. And our Alamos aren’t large enough either.” The big man shook his head, making his coonskin cap tail waggle slightly. “I don’t want anything like that. I need to know a thing.” “Yes, sir?” asked the clerk politely, but still unable not to smile. “I’d sure like to know why people are doing this to me.” “Doing what?” asked the clerk. “Well, for one thing, having their young ones get rigged up in my clothes.” The clerk stared. His smile began to leave his face, but it quickly returned. “Your clothes?” “And the second thing is telling all these lies about me. How I could make shots no human being could make even if he was right on top of a target. And how I could grin a coon out of a tree. And kill a bear when I was threе years old and later how I could just look a bear to death, didn’t have to shoot him at all. I don’t like being misrepresented like that. I don’t like that way of doing things at all.” “You don’t?” “And then making all these things of mine and selling them.” “The Crockett Craze.” “Is that what they call it?” “Well,” said the clerk, “if you don’t mind my saying so, you seem to be a part of it.” He laughed. “Me? But I’m Davy Crockett.” The clerk’s smile was even broader now. Lowering his voice, he advised, “You don’t have to put it on with me.” “Put it on?” “You’re from the Crockett Manufacturing Company, of course,” said the clerk. “And a very good gag, too. I’ll sell our Crockett goods even faster than the way they’ve been going.” “No, no,” protested the big man. “I ain’t--” He stopped. “But might be this company that makes these things can tell me what I want to know. Can you give me their address?” “I don’t get it,” the clerk said. “Unless you were hired by an agency downtown and want to go out to the Company’s office to collect your pay. Is that it?” The big man nodded. “You got it right.” The clerk gave him the address, saying, “It’s way over on the other side of the city. You got a car?” “Car?” “Automobile.” “Them are the things out there making the smell and noise?” The clerk sighed, and instructed, “You can take a B bus.” “I’ll walk.” “It’s a long walk.” “I’m used to walking.” * * * * * It took the tall man the better part of an hour to reach the large red brick building housing the Crockett Manufacturing Company. His feet were sore, from the hard pavement, by the time he reached there. He entered the office of this concern. Through glass panels could be seen a large space where the busy manufacture of synthetic Davy Crockett buckskin outfits, synthetic coonskin caps, cardboard powder horns, and wooden long rifles was proceeding frantically. A man sitting at a large desk looked up and said, “Well, if it ain’t Davy himself.” “Sir,” replied the tall man, “I want to thank you for knowing who I am.” “I could mistake that?” asked the manufacturer. “I heard about what was going on. People who arrived lately where I....” He stopped. “Arrived where?” “Oh, where I live, or, rather, stay now. They told me. And I had a hankering to see it for myself. I obtained permission to return for a time and look around so I could find out why this was going on.” Indulgently, the man inquired, “What do you want to know?” “Why are you doing such as this?” “What do you think? To make dough, large amounts of lettuce. And I’m making it.” “But do you think you got the right to use the name of Davy Crockett the way you are doing?” “Look, Davy ain’t copyrighted. He’s in the public domain, see? Hе don’t own himself any more. He’s a public figure. And I’m making him more public, more famous. I don’t see what he’s kicking about.” “But I don’t like myself done to in this way, commercialized-like,” the big man protested. “It--well, it ain’t nice. It’s cheap, downright cheap and not according to decency.” The Crockett manufacturer rose and came out from behind his desk. “I’ll admit my goods ain’t maybe like your get-up there, but mine are better than most.” He fingered Davy’s jacket. “Say, that’s real buckskin. And your cap’s real coon. And that rifle, it’s the real thing, too, ain’t it, along with the powder horn.” “Of course,” said the tall man. The manufacturer had been studying him closely. “Well, let’s get down to business. I’ll admit your approach was good. Got my attention right away. You deadpanned it fine; bet you’re an actor out of work.” He laughed, and the big man noted he was the second person to laugh at him, not counting the girl who had giggled. “But I’ll tell you what,” the manufacturer continued, “I can’t use you for an ad. And you want to know why? Because business is too good. I can’t handle any more. Come around when business begins to fall off and maybe I’ll hire you. Sure, come to see me then and I’ll give you a job. You can walk around downtown with my name hanging from your neck.” Shortly, the tall man answered, “I’m thanking you, but that ain’t what I want.” “What’s the matter? Not good enough for you?” “In all humility,” the big man replied, “that is correct. I don’t aim to think of myself as a historical American figure, but others have seen fit to make me so. It being like that, I believe you and such should get more respect for the name of Davy Crockett.” “We got all the respect in the world,” the manufacturer said. “In fact, every night I get down on my hands and knees and say a prayer of thanks to Davy Crockett.” “I ain’t had the hearing of you,” the big man informed him. “And I figure if your heart was in the right place and you prayed the way you say, it would of reached me.” The manufacturer now gazed at him in quizzical fashion. “You know something?” he asked. “I think you got yourself really believing you’re Davy Crockett and you’re going around pretending you’re him. That ain’t good. It ain’t good for my business and you better stop it. And speaking of respect for Davy, that ain’t any way to show respect and right now let me tell you I couldn’t use you no matter how bad business got. You better beat it before I call the man with the net.” The big man left. He walked to Washington, D.C., and looked up one of the Congressmen from Tennessee, who was quite happy to see him, even after he introduced himself and said, “You’re holding the self same job I once had.” Indulgently, the Congressman observed, “So you’re Davy Crockett. Glad to know you, Davy.” They shook hands. A slightly glassy look then came to the Congressman’s eyes, as if, belatedly, he had fully realized something. But he went on smoothly, “I’ve had all kinds of constituents call on me, but never one such as you. It is an honor to have you here. I only hope I can fulfill my duties as a Congressman from Tennessee as well as you did, Davy.” “You can start,” said the big man, “by putting a stop right off to this Crockett Craze.” The Congressman looked horrified. “Put a stop to it?” he cried. He shook his head. “I don’t know as I would want to do that, Davy.” “You mean,” the tall man demanded, “you got to thinking it’s good?” “In a way,” the Tennessee Congressman temporized, “it’s a pretty good thing, pretty good. Makes our state known around a good deal, gets it mentioned here and there on such things as the films, the radio, and TV.” “What are them things?” The Congressman gazed at him for a moment before proceeding, “Thanks to you, Davy, it’s good for the tourist business, too. And excellent for attracting other business to Tennessee; makes people think the people of Tennessee are as honest and straightforward as you, Davy.” “Well, ain’t they?” “Of course, of course!” Stiffly, the big man stated, “Still, I can’t help but think the Crockett Craze is a downright insult to me.” “Well, now,” said the Congressman, “I wouldn’t look at it exactly that way, Davy. I think you can take it as a compliment as much as anything. Have you tried to think of it like that?” “Such would be a hard thing to do,” said the tall man, “while other people are making money out of it, using my name in such a way.” “You mean you’d like to be in on it yourself?” inquired the Congressman. “Nothing like that,” said the tall man. “I don’t aim to have any use for making money.” “Independently wealthy already, is that it?” “You might say so,” the big man admitted. “In a manner of speaking.” “Well, Davy, that must be pretty comfortable.” “If they paid all this attention to me,” explained the big man, “without making anything out of it, it would be right fine. But that ain’t the state of affairs.” “Times change,” the Congressman pointed out reasonably. “Values have been altered since your day, Davy. I sympathize with your ethics carried over from another time. They are on a much higher plane than those of today. But I’m afraid not too practical now. I’m sure you’ll realize that when you think it over. Now if you’ll give your name and--I mean, that is, your address to my secretary as you leave, I know you’ll be interested in receiving some campaign literature when I come up for reelection, Davy.” The Congressman looked at the big man again and laughed, as though he had wanted to laugh before but had only got around to it now, unable to contain himself longer. The big man, wishing that everybody wouldn’t laugh at him, found himself eased out to the outer office. Here a young lady solemnly took down his name. She didn’t even look up when she asked for his address and the first thing he thought to answer was, “Last one I had here was the Alamo, San Antonio, Texas.” The tall man thought he would go and see if the Davy Crockett Craze had reached the shrine of Texas liberty. While walking to San Antonio he kept off the hard pavements and this was a lot easier on his feet. There were not many people in the ruins of the Alamo when he arrived. Only a few tourists wandered about the ancient monument. One of these was a young boy clad in Davy Crockett costume. His phony coonskin cap was too large and fell over his eyes occasionally, while his fake rifle was too small. But these imperfections made no difference to his fierce pride in having them. He had evidently become separated from his parents. He saw the big man and demanded shrilly, “What’s the idea?” The big man asked, “What do you mean, son?” “I mean you all dressed up like Davy.” “But, son,” the tall man told him, “I’m Davy.” “You? Huh!” “I really am. I’m Davy Crockett.” “No, you ain’t. You can’t be.” “Why not?” “Because I’m him.” “I don’t mind your saying so, son, because your heart is pure, not like that of those who made that shoddy costume for you.” “Aw, you ain’t Davy.” The big man smiled. “Yes, I am. Right over there is where I died. Why, it’s just like yesterday here. We had run out of ammunition. All we had was our rifles to use as clubs, and our knives. We kept killing Santa Anna’s men, hundreds of them, but he kept sending them in. There were just too many for us.” “I know all that,” the boy said. “You do? Now, ain’t that nice?” The big man pointed to another spot. “And speaking of knives, there is where James Bowie died. He was the one who invented the Bowie knife, which is named after him.” “You don’t have to tell _me_!” cried the boy. He whipped out his own small Bowie knife and brandished it before restoring it to its sheath at his belt. Then he stared at the big man. “You had me going there for a minute, Mister, but you ain’t any more. Cause you ain’t Davy Crockett. Why, you don’t even look like him. Anybody can see that.” The tall man asked softly, “You don’t think so?” “And you better stop going around hurting Davy.” “Hurting him?” “By pretending you’re him. People will laugh at you like they was laughing at Davy. You’re hurting him doing that, ain’t you?” Slowly, the big man answered, “Yes, son, I guess I am. And I expect I couldn’t ever find out what I came to learn, anyway.” “Sure you couldn’t, whatever that is. Davy Crockett!” the youngster shrilled scornfully, his voice sounding hollowly in the emptiness of the Alamo, just the way it had sounded once long ago when Davy’s name was called. “You ain’t him!” The boy raised his tiny wooden rifle. “You’re a bear and I’m going to kill you!” “You mean,” the big man asked, “you’re Davy Crockett and you’re fixing to kill your bear?” “That’s what! And if I don’t kill him with my rifle I’ll kill him with a good hard look! So get ready!” The big man smiled broadly now. “Maybe,” he whispered, “I found out what I came for, after all. And I’m glad to have you be Davy Crockett, son. Why, I expect I’m downright proud to be remembered like you and all the rest are doing.” Davy raised his tiny wooden rifle all the way and began to shoot, calling loudly, “Bang! Bang!” The big man pretended to duck, and then he ran, with Davy after him, shooting steadily. Davy chased him right out the front of the Alamo and there he stopped, for his oversize coonskin cap dropped over his eyes. He pushed it up and then stared about in the bright sunlight, astonished. No one was there. Little Davy looked around, puzzled. “I got him, all right,” he said. “But where’d he go?” Transcriber’s note: This etext was produced from Fantastic Universe, February 1956 (Vol. 5, No. 1.). Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Obvious errors have been silently corrected in this version, but minor inconsistencies have been retained as printed. *** END OF THE PROJECT GUTENBERG EBOOK SHADES OF DAVY CROCKETT *** 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.