## The Project Gutenberg eBook of The walls

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: The walls

Author: Keith Laumer

Illustrator: George Schelling

Release date: December 14, 2023 [eBook #72410]

Language: English

Original publication: New York, NY: Ziff-Davis Publishing Company, 1962

Credits: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE WALLS ***

By KEITH LAUMER

Illustrated by SCHELLING

Four walls do not a prison make—unless
they look out upon a world
that doesn't exist anymore.

[Transcriber's Note: This etext was produced from
Amazing Stories March 1963.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]

Harry Trimble looked pleased when he stepped into the apartment. The lift door had hardly clacked shut behind him on the peering commuter faces in the car before he had slipped his arm behind Flora's back, bumped his face against her cheek and chuckled, "Well, what would you say to a little surprise? Something you've waited a long time for?"

Flora looked up from the dial-a-ration panel. "A surprise, Harry?"

"I know how you feel about the apartment, Flora. Well, from now on, you won't be seeing so much of it—"

"Harry!"

He winced at her clutch on his arm. Her face was pale under the day-glare strip. "We're not—moving to the country...?"

Harry pried his arm free. "The country? What the devil are you talking about?" He was frowning now, the pleased look gone. "You should use the lamps more," he said. "You look sick." He glanced around the apartment, the four perfectly flat rectangular walls, the glassy surface of the variglow ceiling, the floor with its pattern of sink-away panels. His eye fell on the four foot square of the TV screen.

"I'm having that thing taken out tomorrow," he said. The pleased look was coming back. He cocked an eye at Flora. "And I'm having a Full-wall installed!"

Flora glanced at the blank screen. "A Full-wall, Harry?"

"Yep!" Harry smacked a fist into a palm, taking a turn up and down the room. "We'll be the first in our cell-block to have a Full-wall!"

"Why—that will be nice, Harry...."

"Nice?" Harry punched the screen control, then deployed the two chairs with tray racks ready to receive the evening meal.

Behind him, figures jiggled on the screen. "It's a darn sight more than nice," he said, raising his voice over the shrill and thump of the music. "It's expensive, for one thing. Who else do you know that can afford—"

"But—"

"But nothing! Imagine it, Flora! It'll be like having a ... a balcony seat, looking out on other people's lives."

"But we have so little space now; won't it take up—"

"Of course not! How do you manage to stay so ignorant of technical progress? It's only an eighth of an inch thick. Think of it: that thick—" Harry indicated an eighth of an inch with his fingers—"and better color and detail than you've ever seen. It's all done with what they call an edge-excitation effect."

"Harry, the old screen is good enough. Couldn't we use the money for a trip—"

"How do you know if it's good enough? You never have it on. I have to turn it on myself when I get home."

Flora brought the trays and they ate silently, watching the screen. After dinner, Flora disposed of the trays, retracted the table and chairs, and extended the beds. They lay in the dark, not talking.

"It's a whole new system," Harry said suddenly. "The Full-wall people have their own programming scheme; they plan your whole day, wake you up at the right time with some lively music, give you breakfast menus to dial, then follow up with a good sitcom to get you into the day; then there's nap music, with subliminal hypnotics if you have trouble sleeping; then—"

"Harry—can I turn it off if I want to?"

"Turn it off?" Harry sounded puzzled. "The idea is to leave it on. That's why I'm having it installed for you, you know—so you can use it!"

"But sometimes I like to just think—"

"Think! Brood, you mean." He heaved a sigh. "Look, Flora, I know the place isn't fancy. Sure, you get a little tired of being here all the time; but there are plenty of people worse off—and now, with Full-wall, you'll get a feeling of more space—"

"Harry—" Flora spoke rapidly—"I wish we could go away. I mean leave the city, and get a little place where we can be alone, even if it means working hard, and where I can have a garden and maybe keep chickens and you could chop firewood—"

"Good God!" Harry roared, cutting her off. Then: "These fantasies of yours," he said quietly. "You have to learn to live in the real world, Flora. Live in the woods? Wet leaves, wet bark, bugs, mould; talk about depressing...."

There was a long silence.

"I know; you're right, Harry," Flora said. "I'll enjoy the Full-wall. It was very sweet of you to think of getting it for me."

"Sure," Harry said. "It'll be better. You'll see...."

The Full-wall was different, Flora agreed as soon as the service men had made the last adjustments and flipped it on. There was vivid color, fine detail, and a remarkable sense of depth. The shows were about the same—fast-paced, bursting with variety and energy. It was exciting at first, having full-sized people talking, eating, fighting, taking baths, making love, right in the room with you. If you sat across the room and half-closed your eyes, you could almost imagine you were watching real people. Of course, real people wouldn't carry on like that. But then, it was hard to say what real people might do. Flora had always thought Doll Starr wore padded brassieres, but when she stripped on Full-wall—there wasn't any fakery about it.

Harry was pleased, too, when he arrived home to find the wall on. He and Flora would dial dinner with one eye on the screen, then slip into bed and view until the Bull-Doze pills they'd started taking took effect. Perhaps things were better, Flora thought hopefully. More like they used to be.

But after a month or two, the Full-wall began to pall. The same faces, the same pratfalls, the same happy quiz masters, the puzzled prize-winners, the delinquent youths and fumbling dads, the bosoms—all the same.

On the sixty-third day, Flora switched the Full-wall off. The light and sound died, leaving a faint, dwindling glow. She eyed the glassy wall uneasily, as one might view the coffin of an acquaintance.

It was quiet in the apartment. Flora fussed with the dial-a-ration, averting her eyes from the dead screen. She turned to deploy the solitaire table and started violently. The screen, the residual glow having faded now, was a perfect mirror. She went close to it, touched the hard surface with a finger. It was almost invisible. She studied her reflected face; the large dark eyes with shadows under them, the cheek-line, a trifle too hollow now to be really chic, the hair drawn back in an uninspired bun. Behind her, the doubled room, unadorned now that all the furnishings were retracted into the floor except for the pictures on the wall: photographs of the children away at school, a sunny scene of green pastureland, a painting of rolling waves at sea.

She stepped back, considering the effect.

The floor and walls seemed to continue without interruption, except for a hardly noticeable line. It was as though the apartment were twice as large. If only it weren't so empty....

Flora deployed the table and chairs, dialled a lunch, and sat, eating, watching her double. No wonder Harry seemed indifferent lately, she thought, noting the rounded shoulders, the insignificant bust, the slack posture. She would have to do something in the way of self-improvement.

Half an hour of the silent companionship of her image was enough. Flora snapped the screen back on, watched almost with relief as a grinning cowboy in velvet chaps made strumming motions while an intricately-fingered guitar melody blared from the sound track.

Thereafter, she turned the screen off every day, at first only for an hour, later for longer and longer periods. Once, she found herself chatting gaily to her reflection, and hastily fell silent. It wasn't as though she were becoming neurotic, she assured herself; it was just the feeling of roominess that made her like the mirror screen. And she was always careful to have it on when Harry arrived home.

It was about six months after the Full-wall had been installed that Harry emerged one day from the lift smiling in a way that reminded Flora of that earlier evening. He dropped his brief-case into his floor locker, looked around the apartment, humming to himself.

"What is it, Harry?" Flora asked.

Harry glanced at her. "It's not a log cabin in the woods," he said. "But maybe you'll like it anyway...."

"What ... is it, dear...."

"Don't sound so dubious." He broke into a broad smile. "I'm getting you another Full-wall."

Flora looked puzzled. "But this one is working perfectly, Harry."

"Of course it is," he snapped. "I mean you're getting another wall; you'll have two. What about that? Two Full-walls—and nobody else in the cell-block has one yet. The only question is—" he rubbed his hands together, striding up and down the room, eyeing the walls—"which wall is it to be? You can have it adjacent, or opposite. I went over the whole thing with the Full-wall people today. By God, they're doing a magnificent job of programming. You see, the two walls will be synchronized. You're getting the same show on both—you're seeing it from two angles, just as though you were right there in the middle of it. Their whole program has been built on that principle."

"Harry, I'm not sure I want another wall—"

"Oh, nonsense. What is this, some kind of self-denial urge? Why not have the best—if you can afford it. And by God, I can afford it. I'm hitting my stride—"

"Harry, could I go with you some day—tomorrow? I'd like to see where you work, meet your friends—"

"Flora, are you out of your mind? You've seen the commuter car; you know how crowded it is. And what would you do when you got there? Just stand around all day, blocking the aisle? Why don't you appreciate the luxury of having your own place, a little privacy, and now two Full-walls—"

"Then could I go somewhere else I could take a later car. I want to get out in the open air, Harry. I ... haven't seen the sky for ... years, it seems."

"But ..." Harry groped for words, staring at Flora. "Why would you want to go up on the roof?"

"Not the roof; I want to get out of the city—just for a little while. I'll be back home in time to dial your dinner...."

"Do you mean to tell me you want to spend all that money to wedge yourself in a verticar and then transfer to a cross-town and travel maybe seventy miles, packed in like a sardine, standing up all the way, just so you can get out and stand in a wasteland and look back at the walls? And then get back in another car—if you're lucky—and come back again?"

"No—I don't know—I just want to get out, Harry. The roof. Could I go to the roof?"

Harry came over to pat Flora awkwardly on the arm. "Now, take it easy, Flora. You're a little tired and stale; I know. I get the same way sometimes. But don't get the idea that you're missing anything by not having to get into that rat-race. Heaven knows I wish I could stay home. And this new wall is going to make things different. You'll see...."

The new Full-wall was installed adjacent to the first, with a joint so beautifully fitted that only the finest line marked the junction. As soon as she was alone with it, Flora switched it off. Now two reflections stared back at her from behind what appeared to be two intersecting planes of clear glass. She waved an arm. The two slave figures aped her. She walked toward the mirrored corner. They advanced. She stepped back; they retreated.

She went to the far corner of the room and studied the effect. It wasn't as nice as before. Instead of a simple room, neatly bounded on all four sides by solid walls, she seemed now to occupy a stage set off by windows through which other, similar, stages were visible, endlessly repeated. The old feeling of intimate companionship with her reflected self was gone; the two mirror-women were strangers, silently watching her. Defiantly, she stuck out her tongue. The two reflections grimaced menacingly. With a small cry, Flora ran to the switch, turned the screens on.

They were seldom off after that. Sometimes, when the hammering of hooves became too wearing, or the shouting of comics too strident, she would blank them out, and sit, back to the mirror walls, sipping a cup of hot coflet, and waiting—but they were always on when Harry arrived, sometimes glum, sometimes brisk and satisfied. He would settle himself in his chair, waiting patiently enough for dinner, watching the screens.

"They're all right," he would declare, nodding. "Look at that, Flora. Look at the way that fellow whipped right across there. By golly, you've got to hand it to the Full-wall people."

"Harry—where do they make the shows? The ones that show the beautiful scenery, and trees and rolling hills, and mountains?"

Harry was chewing. "Don't know," he said. "On location, I suppose."

"Then there really are places like that? I mean, they aren't just making it up?"

Harry stared at her, mouth full and half open. He grunted and resumed chewing. He swallowed. "I suppose that's another of your cracks."

"I don't understand, Harry," Flora said. He took another bite, glanced sideways at her puzzled expression.

"Of course they aren't making it up. How the devil could they make up a mountain?"

"I'd like to see those places."

"Here we go again," Harry said. "I was hoping I could enjoy a nice meal and then view awhile, but I guess you're not going to allow that."

"Of course, Harry. I just said—"

"I know what you said. Well, look at them then." He waved his hand at the screen. "There it is; the whole world. You can sit right here and view it all—"

"But I want to do more than just view it. I want to live it. I want to be in those places, and feel leaves under my feet, and have rain fall on my face—"

Harry frowned incredulously. "You mean you want to be an actress?"

"No, of course not—"

"I don't know what you want. You have a home, two Full-walls, and this isn't all. I'm working toward something, Flora...."

Flora sighed. "Yes, Harry. I'm very lucky."

"Darn right." Harry nodded emphatically, eyes on the screens. "Dial me another coflet, will you?"

The third Full-wall came as a surprise. Flora had taken the 1100 car to the roboclinic on the 478th level for her annual check up. When she returned home—there it was. She hardly noticed the chorus of gasps cut off abruptly as the door shut in the faces of the other wives in the car. Flora stood, impressed in spite of herself by the fantastic panorama filling her apartment. Directly before her, the studio audience gaped up from the massed seats. A fat man in the front row reached inside a red plaid shirt to scratch. Flora could see the perspiration on his forehead. Farther back, a couple nuzzled, eyes on the stage. Who were they, Flora wondered; How did they manage to get out of their apartments and offices and sit in a real theatre....

To the left, an owlish youth blinked from a brightly lit cage. And on the right, the MC caressed the mike, chattering.

Flora deployed her chair, sank down, looking first this way, then that. There was so much going on—and she was in the middle of it. She watched for half an hour, then retracted the chair, deployed the bed. She was tired from the trip. A little nap....

She stopped with the first zipper. The MC was staring directly at her, leering. The owlish youth blinked at her. The fat man scratched himself, staring up at her from the front row. She couldn't undress in front of all of them....

She glanced around, located the switch near the door. With the click, the scene died around her. The glowing walls seemed to press close, fading slowly. Flora turned to the one remaining opaque wall, undressed slowly, her eyes on the familiar pictures. The children—she hadn't seen them since the last semi-annual vacation week. The cost of travel was so high, and the crowding....

She turned to the bed—and the three mirror-bright walls confronted her. She stared at the pale figure before her, stark against the wall patched with its faded mementos. She took a step; on either side, an endless rank of gaunt nude figures stepped in unison. She whirled, fixed her eyes gratefully on the familiar wall, the thin crevice outlining the door, the picture of the sea....

She closed her eyes, groped her way to the bed. Once covered by the sheet, she opened her eyes. The beds stood in a row, all identical, each with its huddled figure, like an infinite charity ward, she thought—or like a morgue where all the world lay dead....

Harry munched his yeast chop, his head moving from side to side as he followed the action across the three walls.

"It's marvellous, Flora. Marvellous. But it can be better yet," he added mysteriously.

"Harry—couldn't we move to a bigger place—and maybe do away with two of the walls. I—"

"Flora, you know better than that. I'm lucky to have gotten this apartment when I did; there's nothing—absolutely nothing available." He chuckled. "In a way, the situation is good job insurance. You know, I couldn't be fired, even if the company wanted to: They couldn't get a replacement. A man can't very well take a job if he hasn't a place to live in the city—and I can sit on this place as long as I like; we might get tired of issue rations, but by God we could hold on; so—not that anybody's in danger of getting fired."

"We could move out of the city, Harry. When I was a girl—"

"Oh, not again!" Harry groaned. "I thought that was all threshed out, long ago." He fixed a pained look on Flora. "Try to understand, Flora. The population of the world has doubled since you were a girl. Do you realize what that means? There are more people alive now than had been born in all previous human history up to fifty years ago. That farm you remember visiting as a kid—it's all paved now, and there are tall buildings there. The highways you remember, full of private autos, all driving across open country; they're all gone. There aren't any highways, or any open country except the TV settings and a few estates like the President's acre and a half—not that any sun hits it, with all those buildings around it—and maybe some essential dry-land farms for stuff they can't synthesize or get from the sea."

"There has to be some place we could go. It wasn't meant that people should spend their lives like this—away from the sun, the sea...."

A shadow crossed Harry's face. "I can remember things, too, Flora," he said softly. "We spent a week at the beach once, when I was a small boy. I remember getting up at dawn with the sky all pink and purple, and going down to the water's edge. There were little creatures in the sand—little wild things. I could see tiny fish darting along in a wave crest, just before it broke. I could feel the sand with my toes. The gulls sailed around overhead, and there was even a tree—

"But it's gone now. There isn't any beach, anywhere. That's all over...."

He broke off. "Never mind. That was then. This is now. They've paved the beach, and built processing plants on it, and they've paved the farms and the parks and the gardens—but they've given us Full-wall to make up for it. And—"

There was a buzz from the door. Harry got to his feet.

"They're here, Flora. Wait'll you see...."

Something seemed to tighten around Flora's throat as the men emerged from the lift, gingerly handling the great roll of wall screen.

"Harry...."

"Four walls," Harry said triumphantly. "I told you I was working toward something, remember? Well, this is it! By God, the Harry Trimble's have shown 'em!"

"Harry—I can't—not four walls...."

"I know you're a little overwhelmed—but you deserve it, Flora—"

"Harry, I don't WANT four walls! I can't stand it! It will be all around me—"

Harry stepped to her side, gripped her wrist fiercely. "Shut up!" he hissed. "Do you want the workmen to think you're out of your mind?" He grinned at the men. "How about a coflet, boys?"

"You kiddin?" one inquired. The other went silently about the work of rolling out the panel, attaching contact strips. Another reached for the sea-scene—

"No!" Flora threw herself against the wall, as though to cover the pictures with her body. "You can't take my pictures! Harry, don't let them."

"Look, sister, I don't want your crummy pictures."

"Flora, get hold of yourself! Here, I'll help you put the pictures in your floor locker."

"Bunch of nuts," one of the men muttered.

"Here, keep a civil tongue in your head," Harry started.

The man who had spoken stepped up to him. He was taller than Harry and solidly built. "Any more crap outa you and I'll break you in half. You and the old bag shut up and keep outa my way. I gotta job to do."

Harry sat beside Flora, his face white with fury. "You and your vaporings," he hissed. "So I have to endure this. I have a good mind to ..." he trailed off.

The men finished and left with all four walls blaring.

"Harry," Flora's voice shook. "How will you get out? They've put it right across the door; they've sealed us in...."

"Don't be a bigger idiot than you have to." Harry's voice was ugly over the thunder from the screens. He went to the newly covered wall, groped, found the tiny pin-switch. At a touch, it slid aside as always, revealing the blank face of the lift shaft safety door. A moment later it too slid aside and Harry forced his way into the car. Flora caught a glimpse of his flushed angry face as the door closed.

Around her, the walls roared. A saloon fight was in full swing. She ducked as a chair sailed toward her, whirled to see it smash down a man behind her. Shots rang out. Men ran this way and that. The noise was deafening. That man, Flora thought; the vicious one; he had set it too loud purposely.

The scene shifted. Horses galloped across the room; dust clouds rose, nearly choking her in the verisimilitude of the illusion. It was as though she crouched under a small square canopy of ceiling in the middle of the immense plain.

Now there were cattle, wild-eyed, with tossing horns, bellowing, thundering in an unbroken sea across the screens, charging at Flora out of the wall, pouring past her on left and right. She screamed, shut her eyes, and ran blindly to the wall, groping for the switch.

The uproar subsided. Flora gasped in relief, her head humming. She felt faint, dizzy; she had to lie down—Everything was going black around her; the glowing walls swirled, fading. Flora sank to the floor.

Later—perhaps a few minutes, maybe hours—she had no way of knowing—Flora sat up. She looked out across an infinite vista of tile floor, which swept away to the distant horizon in all directions as far as the eye could see; and over all that vast plain, hollow-eyed women crouched at intervals of fifteen feet, in endless numbers, waiting.

Flora stared into the eyes of the nearest reflection. It stared back, a stranger. She moved her head quickly, to try to catch a glimpse of the next woman—but no matter how fast she moved, the nearer woman anticipated her, interposing her face between Flora and all the others. Flora turned; a cold-eyed woman guarded this rank, too.

"Please," Flora heard herself pleading. "Please, please—"

She bit her lip, eyes shut. She had to get hold of herself. These were only mirrors—she knew that. Only mirrors. The other women—they were mere reflections. Even the hostile ones who hid the others—they were herself, mirrored in the walls.

She opened her eyes. She knew there were joints in the glassy wall; all she had to do was find them, and the illusion of the endless plain would collapse. There—that thin black line, like a wire stretched from floor to ceiling—that was a corner of the room. She was not lost in an infinitude of weeping women on a vast plain; she was right there, in her own apartment—alone. She turned, finding the other corners. They were all there, all visible; she knew what they were....

But why did they continue to look like wires, setting apart the squares of floor, each with its silent, grieving occupant...?

She closed her eyes again, fighting down the panic. She would tell Harry. As soon as he came home—it was only a few hours—she would explain it to him.

"I'm sick, Harry. You have to send me away to some place where I'll lie in a real bed, with sheets and blankets, beside an open window, looking out across the fields and forests. Someone—someone kind—will bring me a tray, with a bowl of soup—real soup, made from real chickens and with real bread and even a glass of milk, and a napkin, made of real cloth...."

She should find her bed, and deploy it, and rest there until Harry came, but she was so tired. It was better to wait here, just relaxing and not thinking about the immense floor and the other women who waited with her....

She slept.

When she awoke, she sat up, confused. There had been a dream....

But how strange. The walls of the cell-block were transparent now; she could see all the other apartments, stretching away to every side. She nodded; it was as she thought. They were all as barren and featureless as her own—and Harry was wrong. They all had four Full-walls. And the other women—the other wives, shut up like her in these small, mean cells; they were all aging, and sick, and faded, starved for fresh air and sunshine. She nodded again, and the woman in the next apartment nodded in sympathy. All the women were nodding; they all agreed—poor things.

When Harry came, she would show him how it was. He would see that the Full-walls weren't enough. They all had them, and they were all unhappy. When Harry came—

It was time now. She knew it. After so many years, you didn't need a watch to tell when Harry was due. She had better get up, make herself presentable. She rose unsteadily to her feet. The other husbands were coming, too, Flora noted; all the wives were getting ready. They moved about, opening their floor lockers, patting at their hair, slipping into another dress. Flora went to the dial-a-ration and all around, in all the apartments, the wives deployed the tables and dialled the dinners. She tried to see what the woman next door was dialling, but it was too far. She laughed at the way her neighbor craned to see what SHE was preparing. The other woman laughed, too. She was a good sport.

"Kelpies," Flora called cheerily. "And mockspam, and coflet...."

Dinner was ready now. Flora turned to the door-wall and waited. Harry would be SO pleased at not having to wait. Then, after dinner she'd explain about her illness—

Was it the right wall she was waiting before? The line around the door was so fine you couldn't really see it. She laughed at how funny it would be if Harry came in and found her standing, staring at the wrong wall.

She turned, and saw a movement on her left—in the next apartment. Flora watched as the door opened. A man stepped in. The next-door woman went forward to meet him—

To meet Harry! It was Harry! Flora whirled. Her four walls stood blank and glassy, while all around her, the other wives greeted Harry, seated him at their tables, and offered him coflet....

"Harry!" she screamed, throwing herself at the wall. It threw her back. She ran to the next wall, hammering, screaming. Harry! Harry!

In all the other apartments, Harry chewed, nodded, smiled. The other wives poured, fussed over Harry, nibbled daintily. And none of them—not one of them—paid the slightest attention to her....

She stood in the center of the room, not screaming now, only sobbing silently. In the four glass walls that enclosed her, she stood alone. There was no point in calling any longer.

No matter how she screamed, how she beat against the walls, or how she called for Harry—she knew that no one would ever hear.

THE END

*** END OF THE PROJECT GUTENBERG EBOOK THE WALLS ***
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.