summaryrefslogtreecommitdiff
diff options
context:
space:
mode:
-rw-r--r--.gitattributes4
-rw-r--r--LICENSE.txt11
-rw-r--r--README.md2
-rw-r--r--old/51351-h.zipbin241991 -> 0 bytes
-rw-r--r--old/51351-h/51351-h.htm1329
-rw-r--r--old/51351-h/images/cover.jpgbin137570 -> 0 bytes
-rw-r--r--old/51351-h/images/illus.jpgbin82214 -> 0 bytes
-rw-r--r--old/51351.txt1216
-rw-r--r--old/51351.zipbin21215 -> 0 bytes
9 files changed, 17 insertions, 2545 deletions
diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..d7b82bc
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,4 @@
+*.txt text eol=lf
+*.htm text eol=lf
+*.html text eol=lf
+*.md text eol=lf
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..e37f964
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #51351 (https://www.gutenberg.org/ebooks/51351)
diff --git a/old/51351-h.zip b/old/51351-h.zip
deleted file mode 100644
index a51078b..0000000
--- a/old/51351-h.zip
+++ /dev/null
Binary files differ
diff --git a/old/51351-h/51351-h.htm b/old/51351-h/51351-h.htm
deleted file mode 100644
index 7d2a2c7..0000000
--- a/old/51351-h/51351-h.htm
+++ /dev/null
@@ -1,1329 +0,0 @@
-<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
- "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
- <head>
- <meta http-equiv="Content-Type" content="text/html;charset=us-ascii" />
- <meta http-equiv="Content-Style-Type" content="text/css" />
- <title>
- The Project Gutenberg eBook of The Spicy Sound of Success, by Jim Harmon.
- </title>
- <link rel="coverpage" href="images/cover.jpg" />
-
- <style type="text/css">
-
-body {
- margin-left: 10%;
- margin-right: 10%;
-}
-
- h1,h2 {
- text-align: center; /* all headings centered */
- clear: both;
-}
-
-p {
- margin-top: .51em;
- text-align: justify;
- margin-bottom: .49em;
-}
-
-hr {
- width: 33%;
- margin-top: 2em;
- margin-bottom: 2em;
- margin-left: 33.5%;
- margin-right: 33.5%;
- clear: both;
-}
-
-hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;}
-hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;}
-
-.center {text-align: center;}
-
-.right {text-align: right;}
-
-.caption {font-weight: bold;}
-
-/* Images */
-.figcenter {
- margin: auto;
- text-align: center;
-}
-
-div.titlepage {
- text-align: center;
- page-break-before: always;
- page-break-after: always;
-}
-
-div.titlepage p {
- text-align: center;
- text-indent: 0em;
- font-weight: bold;
- line-height: 1.5;
- margin-top: 3em;
-}
-
-.ph1, .ph2, .ph3, .ph4 { text-align: center; text-indent: 0em; font-weight: bold; }
-.ph1 { font-size: xx-large; margin: .67em auto; }
-.ph2 { font-size: x-large; margin: .75em auto; }
-.ph3 { font-size: large; margin: .83em auto; }
-.ph4 { font-size: medium; margin: 1.12em auto; }
-
-
- </style>
- </head>
-<body>
-
-
-<pre>
-
-The Project Gutenberg EBook of The Spicy Sound of Success, by Jim Harmon
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever. You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-
-Title: The Spicy Sound of Success
-
-Author: Jim Harmon
-
-Release Date: March 3, 2016 [EBook #51351]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE SPICY SOUND OF SUCCESS ***
-
-
-
-
-Produced by Greg Weeks, Mary Meehan and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-
-
-
-
-</pre>
-
-
-<div class="figcenter">
- <img src="images/cover.jpg" width="372" height="500" alt=""/>
-</div>
-
-<hr class="chap" />
-
-<div class="titlepage">
-<h1>THE SPICY SOUND OF SUCCESS</h1>
-
-<p>By JIM HARMON</p>
-
-<p>Illustrated by DICK FRANCIS</p>
-
-<p>[Transcriber's Note: This etext was produced from<br />
-Galaxy Magazine August 1959.<br />
-Extensive research did not uncover any evidence that<br />
-the U.S. copyright on this publication was renewed.]</p>
-
-</div>
-
-<hr class="chap" />
-
-<p class="ph3"><i>Now was the captain's chance to prove he knew<br />
-less than the crew&mdash;all their lives hung upon it!</i></p>
-
-<hr class="chap" />
-
-<p>There was nothing showing on the video screen. That was why we were
-looking at it so analytically.</p>
-
-<p>"Transphasia, that's what it is," Ordinary Spaceman Quade stated with
-a definite thrust of his angular jaw in my direction. "You can take my
-word on that, Captain Gavin."</p>
-
-<p>"Can't," I told him. "I can't trust your opinion. I can't trust
-<i>anything</i>. That's why I'm Captain."</p>
-
-<p>"You'll get over feeling like that."</p>
-
-<p>"I know. Then I'll become First Officer."</p>
-
-<p>"But look at that screen, sir," Quade said with an emphatic swing of
-his scarred arm. "I've seen blank scanning like that before and you
-haven't&mdash;it's your first trip. This always means transphasia&mdash;cortex
-dissolution, motor area feedback, the Aitchell Effect&mdash;call it anything
-you like, it's still transphasia."</p>
-
-<p>"I know what transphasia is," I said moderately. "It means an
-electrogravitational disturbance of incoming sense data, rechanneling
-it to the wrong receptive areas. Besides the human brain, it also
-effects electronic equipment, like radar and television."</p>
-
-<p>"Obviously." Quade glanced disgustedly at the screen.</p>
-
-<p>"Too obvious. This time it might not be a familiar condition of many
-planetary gravitational fields. On this planet, that blank kinescope
-may mean our Big Brother kites were knocked down by hostile natives."</p>
-
-<p>"You are plain wrong, Captain. Traditionally, alien races never
-interfere with our explorations. Generally, they are so alien to us
-they can't even recognize our existence."</p>
-
-<hr class="tb" />
-
-<p>I drew myself up to my full height&mdash;and noticed in irritation it was
-still an inch less than Quade's. "I don't understand you men. Look at
-yourself, Quade. You've been busted to Ordinary Spaceman for just that
-kind of thinking, for relying on tradition, on things that have worked
-before. Not only your thinking is slipshod, you've grown careless about
-everything else, even your own life."</p>
-
-<p>"Just a minute, Captain. I've never been 'busted.' In the Exploration
-Service, we regard Ordinary Spaceman as our highest rank. With my
-hazard pay, I get more hard cash than <i>you</i> do, and I'm closer to
-retirement."</p>
-
-<p>"That's a shallow excuse for complacency."</p>
-
-<p>"Complacency! I've seen ten thousand wonders in twenty years of space,
-with a million variations. But the patterns repeat themselves. We learn
-to know what to expect, so maybe we can't maintain the reactionary
-caution the service likes in officers."</p>
-
-<p>"I resent the word 'reactionary,' Spaceman! In civilian life, I was
-a lapidary and I learned the value of deliberation. But I never got
-too cataleptic to tap a million-dollar gem, which is more than my
-contemporaries can say, many of 'em."</p>
-
-<p>"Captain Gavin," Quade said patiently, "you must realize that an
-outsider like you, among a crew of skilled spacemen, can never be more
-than a figurehead."</p>
-
-<p>Was this the way I was to be treated? Why, this man had deliberately
-insulted me, his captain. I controlled myself, remembering the
-familiarity that had always existed between members of a crew working
-under close conditions, from the time of the ancient submarines and the
-first orbital ships.</p>
-
-<p>"Quade," I said, "there's only one way for us to find out which of us
-is right about the cause of our scanning blackout."</p>
-
-<p>"We go out and find the reason."</p>
-
-<p>"Exactly. We go. You and me. I hope you can stand my company."</p>
-
-<p>"I'm not sure I can," he answered reluctantly. "My hazard pay doesn't
-cover exploring with rookies. With all due respect, Captain."</p>
-
-<p>I clapped him on the shoulder. "But, man, you have just been telling
-me all we had to worry about was common transphasia. A man with your
-experience could protect himself and cover even a rookie, under such
-familiar conditions&mdash;right?"</p>
-
-<p>"Yes, sir, I suppose I could," Quade said, bitterly aware he had lost
-out somewhere and hoping that it wasn't the start of a trend.</p>
-
-<hr class="tb" />
-
-<p>"Looks okay to me," I said. Quade passed a gauntlet over his faceplate.
-"It's real. I can blur it with a smudged visor. When it blurs, it's
-solid."</p>
-
-<p>The landscape beyond the black corona left by our landing rockets was
-unimpressive. The rocky desert was made up of silicon and iron oxide,
-so it looked much the same as a terrestrial location. Yellowish-white
-sand ran up to and around reddish brown rock clawing into the pink
-sunlight.</p>
-
-<p>"I don't understand it," Quade admitted. "Transphasia hits you a foul
-as soon as you let it into the airlock."</p>
-
-<p>"Apparently, Quade, <i>this</i> thing is going to creep up on us."</p>
-
-<p>"Don't sound smug, Captain. It's pitty-pattying behind you too."</p>
-
-<p>The keening call across the surface of consciousness postponed my reply.</p>
-
-<p>The wail was ominously forlorn, defiant of description. I turned my
-head around slowly inside my helmet, not even sure that I had heard it.</p>
-
-<p>But what else can you do with a wail but <i>hear</i> it?</p>
-
-<p>Quade nodded. "I've felt this before. It usually hits sooner. Let's
-trace it."</p>
-
-<p>"I don't like this," I admitted. "It's not at all what I expected from
-what you said about transphasia. It must be something else."</p>
-
-<p>"It couldn't be anything else. I know what to expect. You don't. You
-may begin smelling sensations, tasting sounds, hearing sights, seeing
-tastes, touching odors&mdash;or any other combination. Don't let it bother
-you."</p>
-
-<p>"Of course not. I'll soothe my nerves by counting little shocks of
-lanolin jumping over a loud fence."</p>
-
-<p>Quade grinned behind his faceplate. "Good idea."</p>
-
-<p>"Then you can have it. I'm going to try keeping my eyes open and
-staying alive."</p>
-
-<p>There was no reply.</p>
-
-<p>His expression was tart and greasy despite all his light talk, and
-I knew mine was the same. I tested the security rope between our
-pressure suits. It was a taut and virile bass.</p>
-
-<p>We scaled a staccato of rocks, our suits grinding pepper against our
-hides.</p>
-
-<p>The musk summit rose before us, a minor-key horizon with a shifting
-treble for as far as I could smell. It was primitive beauty that made
-you feel shocking pink inside. The most beautiful vista I had ever
-tasted, it couldn't be dulled even by the sensation of beef broth under
-my skin.</p>
-
-<p>"Is this transphasia?" I asked in awe.</p>
-
-<p>"It always has been before," Quade remarked. "Ready to swallow your
-words about this being something an old hand wouldn't recognize,
-Captain?"</p>
-
-<p>"I'm swallowing no words until I find out precisely how they taste
-here."</p>
-
-<p>"Not a bad taste. They're pretty. Or haven't you noticed?"</p>
-
-<p>"Quade, you're right! About the colors anyway. This reminds me of an
-illiscope recording from a cybernetic translator."</p>
-
-<p>"It should. I don't suppose we could understand each other if it wasn't
-for our morphistudy courses in reading cross-sense translations of
-Centauri blushtalk and the like."</p>
-
-<p>It became difficult to understand him, difficult to try talking in the
-face of such splendor. You never really appreciate colors until you
-smell them for the first time.</p>
-
-<hr class="tb" />
-
-<p>Quade was as conversational as ever, though. "I can't see
-irregularities occurring in a gravitational field. We must have
-compensated for the transphasia while we still had a point of
-reference, the solid reality of the spaceship. But out here, where all
-we have to hang onto is each other, our concept of reality goes <i>bang</i>
-and deflates to a tired joke."</p>
-
-<p>Before I could agree with one of his theories for once, a streak of
-spice shot past us. It bounced back tangily and made a bitter rip
-between the two of us. There was no time to judge its size, if it had
-size, or its decibel range, or its caloric count, before a small, sharp
-pain dug in and dwindled down to nothing in one long second.</p>
-
-<p>The new odor pattern in my head told me Quade was saying something I
-couldn't quite make out.</p>
-
-<p>Quade then pulled me in the direction of the nasty little pain.</p>
-
-<p>"Wait a minute, Spaceman!" I bellowed. "Where the devil do you think
-you're dragging me? Halt! That's a direct order."</p>
-
-<p>He stopped. "Don't you want to find out what that was? This <i>is</i> an
-exploration party, you know, sir."</p>
-
-<p>"I'm not sure I do want to find out what that was just now. I didn't
-like the feel of it. But the important thing is for us not to get any
-further from the ship."</p>
-
-<p>"That's important, Captain?"</p>
-
-<p>"To the best of my judgment, yes. This&mdash;condition&mdash;didn't begin until
-we got so far away from the spacer&mdash;in time or distance. I don't want
-it to get any worse. It's troublesome not to know black from white, but
-it would be a downright inconvenience not to know which way is up."</p>
-
-<p>"Not for an experienced spaceman," Quade griped. "I'm used to
-free-fall."</p>
-
-<p>But he turned back.</p>
-
-<p>"Just a minute," I said. "There was something strange up ahead. I want
-to see if short-range radar can get through our electrogravitational
-jamming here."</p>
-
-<p>I took a sighting. My helmet set projected the pattern on the cornea.
-Sweetness building up to a stab of pure salt&mdash;those were the blips.</p>
-
-<p>Beside me, there was a thin thread of violet. Quade had whistled. He
-was reading the map too.</p>
-
-<p>The slope fell away sharply in front of us, becoming a deep gorge.
-There was something broken and twisted at the bottom, something we had
-known for an instant as a streak of spice.</p>
-
-<p>"There's one free-fall," I said, "where you wouldn't live long enough
-to get used to it."</p>
-
-<p>He said nothing on the route back to the spacer.</p>
-
-<hr class="tb" />
-
-<p>"I know all about this sort of thing, Gav," First Officer Nagurski said
-expansively. He was rubbing the well-worn ears of our beagle mascot,
-Bruce. A heavy tail thudded on the steel deck from time to time.</p>
-
-<p>My finger could barely get in the chafing band of my regulation collar.
-I was hot and tired, fresh&mdash;in only the chronological sense&mdash;from a
-pressure suit.</p>
-
-<p>"What do you know all about, Nagurski? Dogs? Spacemen? Women?
-Transphasia?"</p>
-
-<p>"Yes," he answered casually. "But I had immediate reference to our
-current psychophysiological phenomenon."</p>
-
-<p>I collapsed into the swivel in front of the chart table. "First off,
-let's hear what you know about&mdash;never mind, make it dogs."</p>
-
-<p>"Take Bruce, for example, then&mdash;"</p>
-
-<p>"No, thanks. I was wondering why <i>you</i> did."</p>
-
-<p>"I didn't." His dark, round face was bland. "Bruce picked me. Followed
-me home one night in Chicago Port. The dog or the man who picks his own
-master is the most content."</p>
-
-<p>"Bruce is content," I admitted. "He couldn't be any more content and
-still be alive. But I'm not sure that theory works out with men. We'd
-have anarchy if I tried to let these starbucks pick their own master."</p>
-
-<p>"<i>I</i> had no trouble when I was a captain," Nagurski said. "Ease the
-reins on the men. Just offer them your advice, your guidance. They
-will soon see why the service selected you as captain; they will pick
-you themselves."</p>
-
-<p>"Did your crew voluntarily elect you as their leader?"</p>
-
-<p>"Of course they did, Gav. I'm an old hand at controlling crews."</p>
-
-<p>"Then why are you First Officer under me now?"</p>
-
-<p>He blinked, then decided to laugh. "I've been in space a good many
-years. I really wanted to relax a little bit more. Besides, the
-increase in hazard pay was actually more than my salary as a captain.
-I'm a notch nearer retirement too."</p>
-
-<p>"Tell me, did you always feel this way about letting the men select
-their own leader?"</p>
-
-<hr class="tb" />
-
-<p>Nagurski brought out a pipe. He would have a pipe, I decided.</p>
-
-<p>"No, not always. I was like you at first. Fresh from the cosmic energy
-test lab, suspicious of everything, trying to tell the old hands what
-to do. But I learned that they are pretty smart boys; they know what
-they are doing. You can rely on them absolutely."</p>
-
-<p>I leaned forward, elbows on knees. "Let me tell <i>you</i> a thing,
-Nagurski. Your trust of these damn-fool spacemen is why you are no
-longer a captain. You can't trust anything out here in space, much less
-human nature. Even I know that much!"</p>
-
-<p>He was pained. "If you don't trust the men, they won't trust you, Gav."</p>
-
-<p>"They don't have to trust me. All they have to do is <i>obey</i> me or, by
-Jupiter, get frozen stiff and thawed out just in time for court-marshal
-back home. Listen," I continued earnestly, "these men aren't going to
-think of me&mdash;of <i>us</i>, the officers, as their leaders. As far as the
-crew is concerned, Ordinary Spaceman Quade is the best man on this
-ship."</p>
-
-<p>"He <i>is</i> a good man," Nagurski said. "You mustn't be jealous of his
-status."</p>
-
-<p>The dog growled. He must have sensed what I almost did to Nagurski.</p>
-
-<p>"Never mind that for now," I said wearily. "What was your idea for
-getting our exploration parties through this transphasia?"</p>
-
-<p>"There's only one idea for that," said Quade, ducking his long head
-and stepping through the connecting hatch. "With the Captain's
-permission...."</p>
-
-<p>"Go ahead, Quade, tell him," Nagurski invited.</p>
-
-<p>"There's only one way to wade through transphasia with any
-reliability," Quade told me. "You keep some kind of physical contact
-with the spaceship. Parties are strung out on guide line, like we were,
-but the cable has to be run back and made fast to the hull."</p>
-
-<p>"How far can we run it back?"</p>
-
-<p>Quade shrugged. "Miles."</p>
-
-<p>"How many?"</p>
-
-<p>"We have three miles of cable. As long as you can feel, taste, see,
-smell or hear that rope anchoring you to home, you aren't lost."</p>
-
-<p>"Three miles isn't good enough. We don't have enough fuel to change
-sites that often. You can't use the drive in a gravitational field, you
-know."</p>
-
-<p>"What else can we do, Captain?" Nagurski asked puzzledly.</p>
-
-<p>"You've said that the spaceship is our only protection from
-transphasia. Is that it?"</p>
-
-<p>Quade gave a curt nod.</p>
-
-<p>"Then," I told them, "we will have to start tearing apart this ship."</p>
-
-<hr class="tb" />
-
-<p>Sergeant-Major Hoffman and his team were doing a good job of ripping
-out the side of the afterhold. Through the portal I could see the
-suited men expertly guiding the huge curved sections on their ray
-projectors.</p>
-
-<p>"Cannibalizing is dangerous." Nagurski put his pipe in his teeth and
-shook his head disapprovingly.</p>
-
-<p>"Spaceships have parts as interchangeable as Erector sets. We can
-take apart the tractors and put our ship back together again after we
-complete the survey."</p>
-
-<p>"You can't assemble a jigsaw puzzle if some of the pieces are missing."</p>
-
-<p>"You can't get a complete picture, but you can get a good idea of
-what it looks like. We can take off in a reasonable facsimile of a
-spaceship."</p>
-
-<p>"Not," he persisted, "if <i>too</i> many parts are missing."</p>
-
-<p>"Nagurski, if you are looking for a job safer than space exploration,
-why don't you go back to testing cosmic bomb shelters?"</p>
-
-<p>Nagurski flushed. "Look here, Captain, you are being too damned
-cautious. There is a way one handles the survey of a planet like this,
-and this isn't the way."</p>
-
-<p>"It's my way. You heard what Quade said. You know it yourself. The men
-have to have something tangible to hang onto out there. One slender
-cable isn't enough of an edge on sensory anarchy. If the product of
-their own technological civilization can keep them sane, I say let 'em
-take a part of that environment with them."</p>
-
-<p>"In departing from standard procedure that we have learned to trust,
-you are risking more than a few men&mdash;you risk the whole mission in
-gambling so much of the ship. A captain doesn't take chances like that!"</p>
-
-<p>"I never said I wouldn't take chances. But I'm not going to take
-<i>stupid</i> chances. I <i>might</i> be doing the wrong thing, but I can see you
-<i>would</i> be doing it wrong."</p>
-
-<p>"You know nothing about space, Captain! You have to trust <i>us</i>."</p>
-
-<p>"That's it exactly, First Officer Nagurski," I said sociably. "If you
-lazy, lax, complacent slobs want to do something in a particular way, I
-know it <i>has</i> to be wrong."</p>
-
-<p>I turned and found Wallace, the personnel man, standing in the hatchway.</p>
-
-<p>"Pardon, Captain, but would you say we also lacked initiative?"</p>
-
-<p>"I would," I answered levelly.</p>
-
-<p>"Then you'll be interested to hear that Spaceman Quade took a suit and
-a cartographer unit. He's out there somewhere, alone."</p>
-
-<p>"The idiot!" I yelped. "Everyone needs a partner out there. Send out a
-team to follow his cable and drag him in here by it."</p>
-
-<p>"He didn't hook on a cable, Captain," Wallace said. "I suppose he
-intended to go beyond the three-mile limit as you demanded."</p>
-
-<p>"Shut up, Wallace. You don't have to like me, but you can't twist what
-I said as long as I command this spacer."</p>
-
-<p>"Cool off, Gav," Nagurski advised me. "It's been done before. Anybody
-else would have been a fool to go out alone, but Quade is the most
-experienced man we have. He knows transphasia. Trust him."</p>
-
-<p>"I trusted him too far by letting him run around loose. He needs a
-leash in more ways than one, and I'm going to put one on him."</p>
-
-<hr class="tb" />
-
-<p>For me, it was a nightmare. I lay down in my cabin and thought. I had
-to think things through very carefully. One mistake was too many for
-me. My worst fear had been that someday I would overlook one tiny flaw
-and ruin a gem. Now I might have ruined an exploration and destroyed a
-man, not a stone, because I had missed the flaw.</p>
-
-<p>No one but a reckless fool would have gone out alone on a strange
-planet with a terrifying phenomenon, but I'd had enough evidence to see
-that space exploration <i>made</i> a man a reckless fool by doing things on
-one planet he had once found safe and wise on some other world.</p>
-
-<p>The thought intruded itself: <i>why</i> hadn't I recognized this before I
-let Quade escape to almost certain death? Wasn't it because I wanted
-him dead, because I resented the crew's resentment of my authority, and
-recognized in him the leader and symbol of this resentment?</p>
-
-<p>I threw away that idea along with my half-used cigarette. It might very
-well be true, but how did that help now?</p>
-
-<p>I had to <i>think</i>.</p>
-
-<p>I was going after him, that was certain. Not only for humane
-reasons&mdash;he was the most important member of the crew. With him around,
-there were only two opinions, his and mine. Without him, I'd have
-endless opinions to contend with.</p>
-
-<p>But it wouldn't do any good to go out no better equipped than he.
-There was no time to wait for tractors to be built if we wanted to
-reach him alive, and we certainly couldn't reach him five or ten
-miles out with our three miles of safety line. We would have to go in
-spacesuits.</p>
-
-<p>But how would that leave us any better off than Quade?</p>
-
-<p>Why was Quade vulnerable in his spacesuit, as I knew from experience he
-would be?</p>
-
-<p>How could we be less vulnerable, or preferably invulnerable?</p>
-
-<hr class="tb" />
-
-<p>"Captain, you got nothing to worry about," Quartermaster Farley said.
-He patted a space helmet paternally. "You got yourself a self-contained
-environment. The suit's eye looks into yours at the arteries in the
-back of your eyeball so it can read your amber corpuscles and feed
-you your oxygen in the right amounts; you're a bottle-fed baby. If
-transphasia gets you seeing limburger, turn on the radar and you're
-air-conditioned as an igloo. Nothing short of a cosmic blast can dent
-that hide. You got it made."</p>
-
-<p>"You are right," I said, "only transphasia comes right through these
-air-fast joints."</p>
-
-<p>"Something strange about the trance, Captain," Farley said darkly. "Any
-spaceman can tell you that. Things we don't understand."</p>
-
-<p>"I'm talking about something we do understand&mdash;<i>sound</i>. These suits
-perfectly soundproof?"</p>
-
-<p>"Well, you can pick up sound by conduction. Like putting two helmets
-together and talking without using radio. You can't insulate enough to
-block out all sound and still have a man-shaped suit. You have&mdash;"</p>
-
-<p>"I know. Then you have something like a tractor or a miniature
-spaceship. There isn't time for that. We will have to live with the
-sound."</p>
-
-<p>"What do you think he's going to hear out there, Captain? We'd like to
-find one of those beautiful sirens on some planet, believe me, but&mdash;"</p>
-
-<p>"I believe you," I said quickly. "Let's leave it at that. I don't know
-what he will hear; what's worrying me is <i>how</i> he'll hear it, in what
-sensory medium. I hope the sound doesn't blind him. His radar is his
-only chance."</p>
-
-<p>"How do you figure on getting a better edge yourself, sir?"</p>
-
-<p>"I have the idea, but not the word for it. Tonal compensation, I
-suppose. If you can't shut out the noise, we'll have to drown it out."</p>
-
-<p>Farley nodded. "Beat like a telephone time signal?"</p>
-
-<p>"That would do it."</p>
-
-<p>"It would do something else. It would drive you nuts."</p>
-
-<hr class="tb" />
-
-<p>I shrugged. "It might be distracting."</p>
-
-<p>"Captain, take my word for it," argued Farley. "Constant sonic
-feedback inside a spacesuit will set you rocking against the grain."</p>
-
-<p>"Devise some regular system of interruptions," I suggested.</p>
-
-<p>"Then the pattern will drive you crazy. Maybe in a few months, with
-luck, I could plan some harmonic scale you could tolerate&mdash;"</p>
-
-<p>"We don't have a few months," I said. "How about music? There's a
-harmonic scale for you, and we can endure it, some of it. <i>Figaro</i> and
-<i>Asleep in the Cradle of the Deep</i> can compensate for high-pitched
-outside temperatures, and <i>Flight of the Bumble Bee</i> to block bass
-notes."</p>
-
-<p>Farley nodded. "Might work. I can program the tapes from the library."</p>
-
-<p>"Good. There's one more thing&mdash;how are our stores of medicinal liquor?"</p>
-
-<p>Farley paled. "Captain, are you implying that <i>I</i> should be running
-short on alcohol? Where do you get off suggesting a thing like that?"</p>
-
-<p>"I'm getting off at the right stop, apparently," I sighed. "Okay,
-Farley, no evasions. In plain figures, how much drinking alcohol do we
-have left?"</p>
-
-<p>The quartermaster slumped a bit. "Twenty-one liters unbroken. One more
-about half full."</p>
-
-<p>"Half full? How did that ever happen? I mean you had some <i>left</i>? We'll
-take this up later. I want you to run it through the synthesizer to get
-some light wine...."</p>
-
-<p>"Light wine?" Farley looked in pain. "Not whiskey, brandy, beer?"</p>
-
-<p>"Light wine. Then ration it out to some of the men."</p>
-
-<p>"Ration it to the men!"</p>
-
-<p>"That's an accurate interpretation of my orders."</p>
-
-<p>"But, sir," Farley protested, "you don't give alcohol to the crew in
-the middle of a mission. It's not done. What reason can you have?"</p>
-
-<p>"To sharpen their taste and olfactory senses. We can turn up or block
-out sound. We can use radar to extend our sight, but the Space Service
-hasn't yet developed anything to make spacemen taste or smell better."</p>
-
-<p>"They are going to smell like a herd of winos," Farley said. "I don't
-like to think how they would taste."</p>
-
-<p>"It's an entirely practical idea. Tea-tasters used to drink
-almond-and-barley water to sharpen their senses. I've observed that
-wine helps you appreciate culinary art more. Considering the mixed-up
-sensory data under transphasia, wine may help us to see where we are
-going."</p>
-
-<p>"Yes, sir," Farley said obediently. "I'll give spacemen a few quarts of
-wine, telling them to use it carefully for scientific purposes only,
-and then they will be able to see where they are going. Yes, sir."</p>
-
-<p>I turned to leave, then paused briefly. "You can come along, Farley.
-I'm sure you want to see that we don't waste any of the stuff."</p>
-
-<hr class="tb" />
-
-<p>"There they are!" Nagurski called. "Quade's footsteps again, just
-beyond that rocky ridge."</p>
-
-<p>The landscape was rich chocolate ice cream smothered with chocolate
-syrup, caramel, peanuts and maple syrup, eaten while you smoked an old,
-mellow Havana. The footsteps were faint traces of whipped cream across
-the dark, rich taste of the planet.</p>
-
-<p>I splashed some wine from my drinking tube against the roof of my mouth
-to sharpen my taste. It brought out the footsteps sharper. It also made
-the landscape more of a teen-ager's caloric nightmare.</p>
-
-<p>The four of us pulled ourselves closer together by reeling in more
-of our safety line. Farley and Hoffman, Nagurski and myself, we were
-cabled together. It gave us a larger hunk of reality to hold onto. Even
-so, things wavered for me during a wisp of time.</p>
-
-<p>We stumbled over the ridge, feeling out the territory. It was a sticky
-job crawling over a melting, chunk-style Hershey bar. I was thankful
-for the invigorating Sousa march blasting inside my helmet. Before the
-tape had cut in, kicked on by the decibel gauge, I had heard or felt
-something dark and ominous in the outside air.</p>
-
-<p>"Yes, this is definitely the trail of Quail," Nagurski said soberly.
-"This is serious business. I must ask whoever has been giggling on
-this channel to shut up. Pardon me, Captain. <i>You</i> weren't giggling,
-sir?"</p>
-
-<p>"I have never giggled in my life, Nagurski."</p>
-
-<p>"Yes, sir. That's what we all thought."</p>
-
-<p>A moment later, Nagurski added, "Anyway, I just noticed it was my
-shelf&mdash;my, that is, self."</p>
-
-<p>The basso profundo performing <i>Figaro</i> on my headset climbed to a
-girlish shriek. A sliver of ice. This was the call Quade and I had
-first heard as we were about to troop over a cliff. I dug in my heels.</p>
-
-<p>"Take a good look around, boys," I said. "What do you see?"</p>
-
-<p>"Quail," Nagurski replied. "That's what I see."</p>
-
-<p>"You," I said carefully, "have been in space a <i>long</i> time. Look again."</p>
-
-<p>"I see our old buddy, Quail."</p>
-
-<p>I took another slosh of burgundy and peered up ahead. It <i>was</i> Quade. A
-man in a spacesuit, faceplate in the dust, two hundred yards ahead.</p>
-
-<hr class="chap" />
-
-<div class="figcenter">
- <img src="images/illus.jpg" width="352" height="500" alt=""/>
-</div>
-
-<hr class="chap" />
-
-<p>Grudgingly I stepped forward, out of the shadow of the ridge.
-A hysterically screaming wind rocked me on my toes. We pushed
-on sluggishly to Quade's side, moving to the tempo of <i>Pomp and
-Circumstance</i>.</p>
-
-<p>Farley lugged Quade over on his back and read his gauges.</p>
-
-<p>The Quartermaster rose with grim deliberation, and hiccuped. "Better
-get him back to the spaceship fast. I've seen this kind of thing
-before with transphasia. His body cooled down because of the screaming
-wind&mdash;psychosomatic reaction&mdash;and his heating circuits compensated for
-the cool flesh. The poor devil's got frostbite and heat prostration."</p>
-
-<hr class="tb" />
-
-<p>The four of us managed to haul Quade back by using the powered joints
-in our suits. Hoffman suggested that he had once seen an injured
-man walked back inside his suit like a robot, but it was a delicate
-adjustment, controlling power circuits from outside a suit. It was too
-much for us&mdash;we were too tired, too numb, too drunk.</p>
-
-<p>At first sight of the spacer in the distance, transphasia left me with
-only a chocolate-tasting pink after-image on my retina. It was now
-showing bare skeleton from cannibalization for tractor parts, but it
-looked good to me, like home.</p>
-
-<p>The wailing call sounded through the amber twilight.</p>
-
-<p>I realized that I was actually <i>hearing</i> it for the first time.</p>
-
-<p>The alien stood between us and the ship. It was a great pot-bellied
-lizard as tall as a man. Its sound came from a flat, vibrating beaver
-tail. Others of its kind were coming into view behind it.</p>
-
-<p>"Stand your ground," I warned the others thickly. "They may be
-dangerous."</p>
-
-<p>Quade sat up on our crisscross litter of arms. "Aliens can't be
-hostile. Ethnic impossibility. I'll show you."</p>
-
-<p>Quade was delirious and we were drunk. He got away from us and jogged
-toward the herd.</p>
-
-<p>"Let's give him a hand!" Farley shouted. "We'll take us a specimen!"</p>
-
-<p>I couldn't stop them. Being in Alpine rope with them, I went along. At
-the time, it even seemed vaguely like a good idea.</p>
-
-<p>As we lumbered toward them, the aliens fell back in a solid line except
-for the first curious-looking one. Quade got there ahead of us and made
-a grab. The creature rose into the air with a screaming vibration of
-his tail and landed on top of him, flattening him instantly.</p>
-
-<p>"Sssh, men," Nagurski said. "Leave it to me. I'll surround him."</p>
-
-<p>The men followed the First Officer's example, and the rope tying them
-to him. I went along cheerfully myself, until an enormous rump struck
-me violently in the face. My leaded boots were driven down into fertile
-soil, and my helmet was ringing like a bell. I got a jerky picture of
-the beast jumping up and down on top of the others joyously. Only the
-stiff space armor was holding up our slack frames.</p>
-
-<p>"Let's let him escape," Hoffman suggested on the audio circuit.</p>
-
-<p>"I'd like to," Nagurski admitted, "but the other beasts won't let us
-get past their circle."</p>
-
-<p>It was true. The aliens formed a ring around us, and each time a
-bouncing boy hit the line, he only bounced back on top of us.</p>
-
-<p>"Flat!" I yelled. "Our seams can't take much more of this beating."</p>
-
-<p>I followed my own advice and landed in the dirt beside Quade.</p>
-
-<p>The bouncer came to rest and regarded us silently, head on an
-eighty-degree angle.</p>
-
-<p>I was stone sober.</p>
-
-<p>The others were lying around me quietly, passed out, knocked out, or
-taking cover.</p>
-
-<p>The ring of aliens drew in about us, closer, tighter, as the bouncer
-sat on his haunches and waited for us to move.</p>
-
-<hr class="tb" />
-
-<p>"Feeling better?" I asked Quade in the infirmary.</p>
-
-<p>He punched up his pillow and settled back. "I guess so. But when I
-think of all the ways I nearly got myself killed out there.... How far
-have you got in the tractors?"</p>
-
-<p>"I'm having the tractors torn down and the parts put back into the
-spaceship where they belong. We <i>shouldn't</i> risk losing them and
-getting stuck here."</p>
-
-<p>"Are you settling for a primary exploration?"</p>
-
-<p>"No. I think I had the right idea on your rescue party. You have to
-meet and fight a planet on its own terms. Fighting confused sounds and
-tastes with music and wine was crude, but it was on the right track.
-Out there, we understood language because we were familiar with alien
-languages changed to other sense mediums by cybernetic translators.
-Using the translator, we can learn to recognize all confused data as
-easily. I'm starting indoctrination courses."</p>
-
-<p>"I doubt that that is necessary, sir," Quade said. "Experienced
-spacemen are experienced with transphasia. You don't have to worry. In
-the future, I'll be able to resist sensations that tell me I'm freezing
-to death&mdash;if my gauges tell me it's a lie."</p>
-
-<p>I examined his bandisprayed hide. "I think my way of gaining experience
-is less painful and more efficient."</p>
-
-<p>Quade squirmed. "Yes, sir. One thing, sir&mdash;I don't understand how you
-got me away from those aliens."</p>
-
-<p>"The aliens were trying to help. They knew something was wrong and they
-were prodding and probing. When the first tractor pulled up and the men
-got out, they seemed to realize our own people could help us easier
-than they could."</p>
-
-<p>"I am not quite convinced that those babies just meant to help us all
-the time."</p>
-
-<p>"But they did! First, that call of theirs&mdash;it wasn't to lead us into
-danger, but to warn us of the cliff, the freezing wind. They saw we
-were trying to find out things about their world, so they even offered
-us one of their own kind to study. Unfortunately, he was too much for
-us. They didn't give us their top man, of course, only the village
-idiot. It's just as well. We aren't allowed to dissect creatures that
-far up the intelligence scale."</p>
-
-<p>"But why should they want to help us?" Quade demanded suspiciously.</p>
-
-<p>"I think it's like Nagurski's dog. The dog came to him when it wanted
-somebody to own it, protect it, feed it, love it. These aliens <i>want</i>
-Earthmen to colonize the planet. We came here, you see, same as the dog
-came to Nagurski."</p>
-
-<p>"Well, I've learned one thing from all of this," Quade said. "I've been
-a blind, arrogant, cocksure fool, following courses that were good on
-<i>some</i> worlds, <i>most</i> worlds, but not good on <i>all</i> worlds. I'm never
-going to be that foolhardy again."</p>
-
-<p>"But you're losing <i>confidence</i>, Quade! You aren't sure of yourself any
-more. Isn't confidence a spaceman's most valuable asset?"</p>
-
-<p>"The hell it is," Quade said grimly. "It's his deadliest liability."</p>
-
-<p>"In that case, I must inform you that I am demoting you to Acting
-Executive Officer."</p>
-
-<p>"Huh?" Quade gawked. "But dammit, Captain, you can't do that to me!
-I'll lose hazard pay and be that much further from retirement!"</p>
-
-<p>"That's tough," I sympathized, "but in every service a chap gets broken
-in rank now and then."</p>
-
-<p>"Maybe it's worth it," Quade said heavily. "Now maybe I've learned how
-to stay alive out here. I just hope I don't forget."</p>
-
-<p>I thought about that. I was nearly through with my first mission and
-I could speak with experience, even if it was the least amount of
-experience aboard.</p>
-
-<p>"Quade," I said, "space isn't as dangerous as all that." I clapped him
-on the shoulder fraternally. "You worry too much!"</p>
-
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
-End of Project Gutenberg's The Spicy Sound of Success, by Jim Harmon
-
-*** END OF THIS PROJECT GUTENBERG EBOOK THE SPICY SOUND OF SUCCESS ***
-
-***** This file should be named 51351-h.htm or 51351-h.zip *****
-This and all associated files of various formats will be found in:
- http://www.gutenberg.org/5/1/3/5/51351/
-
-Produced by Greg Weeks, Mary Meehan and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-Updated editions will replace the previous one--the old editions
-will be renamed.
-
-Creating the works from public domain print editions means that no
-one owns a United States copyright in these works, so the Foundation
-(and you!) can copy and distribute it in the United States without
-permission and without paying copyright royalties. Special rules,
-set forth in the General Terms of Use part of this license, apply to
-copying and distributing Project Gutenberg-tm electronic works to
-protect the PROJECT GUTENBERG-tm concept and trademark. Project
-Gutenberg is a registered trademark, and may not be used if you
-charge for the eBooks, unless you receive specific permission. If you
-do not charge anything for copies of this eBook, complying with the
-rules is very easy. You may use this eBook for nearly any purpose
-such as creation of derivative works, reports, performances and
-research. They may be modified and printed and given away--you may do
-practically ANYTHING with public domain eBooks. Redistribution is
-subject to the trademark license, especially commercial
-redistribution.
-
-
-
-*** START: FULL LICENSE ***
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full Project
-Gutenberg-tm License (available with this file or online at
-http://gutenberg.org/license).
-
-
-Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
-electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or destroy
-all copies of Project Gutenberg-tm electronic works in your possession.
-If you paid a fee for obtaining a copy of or access to a Project
-Gutenberg-tm electronic work and you do not agree to be bound by the
-terms of this agreement, you may obtain a refund from the person or
-entity to whom you paid the fee as set forth in paragraph 1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this agreement
-and help preserve free future access to Project Gutenberg-tm electronic
-works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
-or PGLAF), owns a compilation copyright in the collection of Project
-Gutenberg-tm electronic works. Nearly all the individual works in the
-collection are in the public domain in the United States. If an
-individual work is in the public domain in the United States and you are
-located in the United States, we do not claim a right to prevent you from
-copying, distributing, performing, displaying or creating derivative
-works based on the work as long as all references to Project Gutenberg
-are removed. Of course, we hope that you will support the Project
-Gutenberg-tm mission of promoting free access to electronic works by
-freely sharing Project Gutenberg-tm works in compliance with the terms of
-this agreement for keeping the Project Gutenberg-tm name associated with
-the work. You can easily comply with the terms of this agreement by
-keeping this work in the same format with its attached full Project
-Gutenberg-tm License when you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are in
-a constant state of change. If you are outside the United States, check
-the laws of your country in addition to the terms of this agreement
-before downloading, copying, displaying, performing, distributing or
-creating derivative works based on this work or any other Project
-Gutenberg-tm work. The Foundation makes no representations concerning
-the copyright status of any work in any country outside the United
-States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other immediate
-access to, the full Project Gutenberg-tm License must appear prominently
-whenever any copy of a Project Gutenberg-tm work (any work on which the
-phrase "Project Gutenberg" appears, or with which the phrase "Project
-Gutenberg" is associated) is accessed, displayed, performed, viewed,
-copied or distributed:
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever. You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is derived
-from the public domain (does not contain a notice indicating that it is
-posted with permission of the copyright holder), the work can be copied
-and distributed to anyone in the United States without paying any fees
-or charges. If you are redistributing or providing access to a work
-with the phrase "Project Gutenberg" associated with or appearing on the
-work, you must comply either with the requirements of paragraphs 1.E.1
-through 1.E.7 or obtain permission for the use of the work and the
-Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
-1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
-terms imposed by the copyright holder. Additional terms will be linked
-to the Project Gutenberg-tm License for all works posted with the
-permission of the copyright holder found at the beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including any
-word processing or hypertext form. However, if you provide access to or
-distribute copies of a Project Gutenberg-tm work in a format other than
-"Plain Vanilla ASCII" or other format used in the official version
-posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
-you must, at no additional cost, fee or expense to the user, provide a
-copy, a means of exporting a copy, or a means of obtaining a copy upon
-request, of the work in its original "Plain Vanilla ASCII" or other
-form. Any alternate format must include the full Project Gutenberg-tm
-License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works provided
-that
-
-- You pay a royalty fee of 20% of the gross profits you derive from
- the use of Project Gutenberg-tm works calculated using the method
- you already use to calculate your applicable taxes. The fee is
- owed to the owner of the Project Gutenberg-tm trademark, but he
- has agreed to donate royalties under this paragraph to the
- Project Gutenberg Literary Archive Foundation. Royalty payments
- must be paid within 60 days following each date on which you
- prepare (or are legally required to prepare) your periodic tax
- returns. Royalty payments should be clearly marked as such and
- sent to the Project Gutenberg Literary Archive Foundation at the
- address specified in Section 4, "Information about donations to
- the Project Gutenberg Literary Archive Foundation."
-
-- You provide a full refund of any money paid by a user who notifies
- you in writing (or by e-mail) within 30 days of receipt that s/he
- does not agree to the terms of the full Project Gutenberg-tm
- License. You must require such a user to return or
- destroy all copies of the works possessed in a physical medium
- and discontinue all use of and all access to other copies of
- Project Gutenberg-tm works.
-
-- You provide, in accordance with paragraph 1.F.3, a full refund of any
- money paid for a work or a replacement copy, if a defect in the
- electronic work is discovered and reported to you within 90 days
- of receipt of the work.
-
-- You comply with all other terms of this agreement for free
- distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
-electronic work or group of works on different terms than are set
-forth in this agreement, you must obtain permission in writing from
-both the Project Gutenberg Literary Archive Foundation and Michael
-Hart, the owner of the Project Gutenberg-tm trademark. Contact the
-Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-public domain works in creating the Project Gutenberg-tm
-collection. Despite these efforts, Project Gutenberg-tm electronic
-works, and the medium on which they may be stored, may contain
-"Defects," such as, but not limited to, incomplete, inaccurate or
-corrupt data, transcription errors, a copyright or other intellectual
-property infringement, a defective or damaged disk or other medium, a
-computer virus, or computer codes that damage or cannot be read by
-your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 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-tm electronic works in accordance
-with this agreement, and any volunteers associated with the production,
-promotion and distribution of Project Gutenberg-tm electronic works,
-harmless from all liability, costs and expenses, including legal fees,
-that arise directly or indirectly from any of the following which you do
-or cause to occur: (a) distribution of this or any Project Gutenberg-tm
-work, (b) alteration, modification, or additions or deletions to any
-Project Gutenberg-tm work, and (c) any Defect you cause.
-
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of computers
-including obsolete, old, middle-aged and new computers. It exists
-because of the efforts of hundreds of volunteers and donations from
-people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need, are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future generations.
-To learn more about the Project Gutenberg Literary Archive Foundation
-and how your efforts and donations can help, see Sections 3 and 4
-and the Foundation web page at http://www.pglaf.org.
-
-
-Section 3. Information about the Project Gutenberg Literary Archive
-Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Its 501(c)(3) letter is posted at
-http://pglaf.org/fundraising. Contributions to the Project Gutenberg
-Literary Archive Foundation are tax deductible to the full extent
-permitted by U.S. federal laws and your state's laws.
-
-The Foundation's principal office is located at 4557 Melan Dr. S.
-Fairbanks, AK, 99712., but its volunteers and employees are scattered
-throughout numerous locations. Its business office is located at
-809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
-business@pglaf.org. Email contact links and up to date contact
-information can be found at the Foundation's web site and official
-page at http://pglaf.org
-
-For additional contact information:
- Dr. Gregory B. Newby
- Chief Executive and Director
- gbnewby@pglaf.org
-
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To
-SEND DONATIONS or determine the status of compliance for any
-particular state visit http://pglaf.org
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations.
-To donate, please visit: http://pglaf.org/donate
-
-
-Section 5. General Information About Project Gutenberg-tm electronic
-works.
-
-Professor Michael S. Hart is the originator of the Project Gutenberg-tm
-concept of a library of electronic works that could be freely shared
-with anyone. For thirty years, he produced and distributed Project
-Gutenberg-tm eBooks with only a loose network of volunteer support.
-
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as Public Domain in the U.S.
-unless a copyright notice is included. Thus, we do not necessarily
-keep eBooks in compliance with any particular paper edition.
-
-
-Most people start at our Web site which has the main PG search facility:
-
- http://www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-
-
-</pre>
-
-</body>
-</html>
diff --git a/old/51351-h/images/cover.jpg b/old/51351-h/images/cover.jpg
deleted file mode 100644
index d498876..0000000
--- a/old/51351-h/images/cover.jpg
+++ /dev/null
Binary files differ
diff --git a/old/51351-h/images/illus.jpg b/old/51351-h/images/illus.jpg
deleted file mode 100644
index 3e76321..0000000
--- a/old/51351-h/images/illus.jpg
+++ /dev/null
Binary files differ
diff --git a/old/51351.txt b/old/51351.txt
deleted file mode 100644
index c3a8964..0000000
--- a/old/51351.txt
+++ /dev/null
@@ -1,1216 +0,0 @@
-The Project Gutenberg EBook of The Spicy Sound of Success, by Jim Harmon
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever. You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-
-Title: The Spicy Sound of Success
-
-Author: Jim Harmon
-
-Release Date: March 3, 2016 [EBook #51351]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE SPICY SOUND OF SUCCESS ***
-
-
-
-
-Produced by Greg Weeks, Mary Meehan and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-
-
-
-
-
-
-
- THE SPICY SOUND OF SUCCESS
-
- By JIM HARMON
-
- Illustrated by DICK FRANCIS
-
- [Transcriber's Note: This etext was produced from
- Galaxy Magazine August 1959.
- Extensive research did not uncover any evidence that
- the U.S. copyright on this publication was renewed.]
-
-
-
-
- Now was the captain's chance to prove he knew
- less than the crew--all their lives hung upon it!
-
-
-There was nothing showing on the video screen. That was why we were
-looking at it so analytically.
-
-"Transphasia, that's what it is," Ordinary Spaceman Quade stated with
-a definite thrust of his angular jaw in my direction. "You can take my
-word on that, Captain Gavin."
-
-"Can't," I told him. "I can't trust your opinion. I can't trust
-_anything_. That's why I'm Captain."
-
-"You'll get over feeling like that."
-
-"I know. Then I'll become First Officer."
-
-"But look at that screen, sir," Quade said with an emphatic swing of
-his scarred arm. "I've seen blank scanning like that before and you
-haven't--it's your first trip. This always means transphasia--cortex
-dissolution, motor area feedback, the Aitchell Effect--call it anything
-you like, it's still transphasia."
-
-"I know what transphasia is," I said moderately. "It means an
-electrogravitational disturbance of incoming sense data, rechanneling
-it to the wrong receptive areas. Besides the human brain, it also
-effects electronic equipment, like radar and television."
-
-"Obviously." Quade glanced disgustedly at the screen.
-
-"Too obvious. This time it might not be a familiar condition of many
-planetary gravitational fields. On this planet, that blank kinescope
-may mean our Big Brother kites were knocked down by hostile natives."
-
-"You are plain wrong, Captain. Traditionally, alien races never
-interfere with our explorations. Generally, they are so alien to us
-they can't even recognize our existence."
-
- * * * * *
-
-I drew myself up to my full height--and noticed in irritation it was
-still an inch less than Quade's. "I don't understand you men. Look at
-yourself, Quade. You've been busted to Ordinary Spaceman for just that
-kind of thinking, for relying on tradition, on things that have worked
-before. Not only your thinking is slipshod, you've grown careless about
-everything else, even your own life."
-
-"Just a minute, Captain. I've never been 'busted.' In the Exploration
-Service, we regard Ordinary Spaceman as our highest rank. With my
-hazard pay, I get more hard cash than _you_ do, and I'm closer to
-retirement."
-
-"That's a shallow excuse for complacency."
-
-"Complacency! I've seen ten thousand wonders in twenty years of space,
-with a million variations. But the patterns repeat themselves. We learn
-to know what to expect, so maybe we can't maintain the reactionary
-caution the service likes in officers."
-
-"I resent the word 'reactionary,' Spaceman! In civilian life, I was
-a lapidary and I learned the value of deliberation. But I never got
-too cataleptic to tap a million-dollar gem, which is more than my
-contemporaries can say, many of 'em."
-
-"Captain Gavin," Quade said patiently, "you must realize that an
-outsider like you, among a crew of skilled spacemen, can never be more
-than a figurehead."
-
-Was this the way I was to be treated? Why, this man had deliberately
-insulted me, his captain. I controlled myself, remembering the
-familiarity that had always existed between members of a crew working
-under close conditions, from the time of the ancient submarines and the
-first orbital ships.
-
-"Quade," I said, "there's only one way for us to find out which of us
-is right about the cause of our scanning blackout."
-
-"We go out and find the reason."
-
-"Exactly. We go. You and me. I hope you can stand my company."
-
-"I'm not sure I can," he answered reluctantly. "My hazard pay doesn't
-cover exploring with rookies. With all due respect, Captain."
-
-I clapped him on the shoulder. "But, man, you have just been telling
-me all we had to worry about was common transphasia. A man with your
-experience could protect himself and cover even a rookie, under such
-familiar conditions--right?"
-
-"Yes, sir, I suppose I could," Quade said, bitterly aware he had lost
-out somewhere and hoping that it wasn't the start of a trend.
-
- * * * * *
-
-"Looks okay to me," I said. Quade passed a gauntlet over his faceplate.
-"It's real. I can blur it with a smudged visor. When it blurs, it's
-solid."
-
-The landscape beyond the black corona left by our landing rockets was
-unimpressive. The rocky desert was made up of silicon and iron oxide,
-so it looked much the same as a terrestrial location. Yellowish-white
-sand ran up to and around reddish brown rock clawing into the pink
-sunlight.
-
-"I don't understand it," Quade admitted. "Transphasia hits you a foul
-as soon as you let it into the airlock."
-
-"Apparently, Quade, _this_ thing is going to creep up on us."
-
-"Don't sound smug, Captain. It's pitty-pattying behind you too."
-
-The keening call across the surface of consciousness postponed my reply.
-
-The wail was ominously forlorn, defiant of description. I turned my
-head around slowly inside my helmet, not even sure that I had heard it.
-
-But what else can you do with a wail but _hear_ it?
-
-Quade nodded. "I've felt this before. It usually hits sooner. Let's
-trace it."
-
-"I don't like this," I admitted. "It's not at all what I expected from
-what you said about transphasia. It must be something else."
-
-"It couldn't be anything else. I know what to expect. You don't. You
-may begin smelling sensations, tasting sounds, hearing sights, seeing
-tastes, touching odors--or any other combination. Don't let it bother
-you."
-
-"Of course not. I'll soothe my nerves by counting little shocks of
-lanolin jumping over a loud fence."
-
-Quade grinned behind his faceplate. "Good idea."
-
-"Then you can have it. I'm going to try keeping my eyes open and
-staying alive."
-
-There was no reply.
-
-His expression was tart and greasy despite all his light talk, and
-I knew mine was the same. I tested the security rope between our
-pressure suits. It was a taut and virile bass.
-
-We scaled a staccato of rocks, our suits grinding pepper against our
-hides.
-
-The musk summit rose before us, a minor-key horizon with a shifting
-treble for as far as I could smell. It was primitive beauty that made
-you feel shocking pink inside. The most beautiful vista I had ever
-tasted, it couldn't be dulled even by the sensation of beef broth under
-my skin.
-
-"Is this transphasia?" I asked in awe.
-
-"It always has been before," Quade remarked. "Ready to swallow your
-words about this being something an old hand wouldn't recognize,
-Captain?"
-
-"I'm swallowing no words until I find out precisely how they taste
-here."
-
-"Not a bad taste. They're pretty. Or haven't you noticed?"
-
-"Quade, you're right! About the colors anyway. This reminds me of an
-illiscope recording from a cybernetic translator."
-
-"It should. I don't suppose we could understand each other if it wasn't
-for our morphistudy courses in reading cross-sense translations of
-Centauri blushtalk and the like."
-
-It became difficult to understand him, difficult to try talking in the
-face of such splendor. You never really appreciate colors until you
-smell them for the first time.
-
- * * * * *
-
-Quade was as conversational as ever, though. "I can't see
-irregularities occurring in a gravitational field. We must have
-compensated for the transphasia while we still had a point of
-reference, the solid reality of the spaceship. But out here, where all
-we have to hang onto is each other, our concept of reality goes _bang_
-and deflates to a tired joke."
-
-Before I could agree with one of his theories for once, a streak of
-spice shot past us. It bounced back tangily and made a bitter rip
-between the two of us. There was no time to judge its size, if it had
-size, or its decibel range, or its caloric count, before a small, sharp
-pain dug in and dwindled down to nothing in one long second.
-
-The new odor pattern in my head told me Quade was saying something I
-couldn't quite make out.
-
-Quade then pulled me in the direction of the nasty little pain.
-
-"Wait a minute, Spaceman!" I bellowed. "Where the devil do you think
-you're dragging me? Halt! That's a direct order."
-
-He stopped. "Don't you want to find out what that was? This _is_ an
-exploration party, you know, sir."
-
-"I'm not sure I do want to find out what that was just now. I didn't
-like the feel of it. But the important thing is for us not to get any
-further from the ship."
-
-"That's important, Captain?"
-
-"To the best of my judgment, yes. This--condition--didn't begin until
-we got so far away from the spacer--in time or distance. I don't want
-it to get any worse. It's troublesome not to know black from white, but
-it would be a downright inconvenience not to know which way is up."
-
-"Not for an experienced spaceman," Quade griped. "I'm used to
-free-fall."
-
-But he turned back.
-
-"Just a minute," I said. "There was something strange up ahead. I want
-to see if short-range radar can get through our electrogravitational
-jamming here."
-
-I took a sighting. My helmet set projected the pattern on the cornea.
-Sweetness building up to a stab of pure salt--those were the blips.
-
-Beside me, there was a thin thread of violet. Quade had whistled. He
-was reading the map too.
-
-The slope fell away sharply in front of us, becoming a deep gorge.
-There was something broken and twisted at the bottom, something we had
-known for an instant as a streak of spice.
-
-"There's one free-fall," I said, "where you wouldn't live long enough
-to get used to it."
-
-He said nothing on the route back to the spacer.
-
- * * * * *
-
-"I know all about this sort of thing, Gav," First Officer Nagurski said
-expansively. He was rubbing the well-worn ears of our beagle mascot,
-Bruce. A heavy tail thudded on the steel deck from time to time.
-
-My finger could barely get in the chafing band of my regulation collar.
-I was hot and tired, fresh--in only the chronological sense--from a
-pressure suit.
-
-"What do you know all about, Nagurski? Dogs? Spacemen? Women?
-Transphasia?"
-
-"Yes," he answered casually. "But I had immediate reference to our
-current psychophysiological phenomenon."
-
-I collapsed into the swivel in front of the chart table. "First off,
-let's hear what you know about--never mind, make it dogs."
-
-"Take Bruce, for example, then--"
-
-"No, thanks. I was wondering why _you_ did."
-
-"I didn't." His dark, round face was bland. "Bruce picked me. Followed
-me home one night in Chicago Port. The dog or the man who picks his own
-master is the most content."
-
-"Bruce is content," I admitted. "He couldn't be any more content and
-still be alive. But I'm not sure that theory works out with men. We'd
-have anarchy if I tried to let these starbucks pick their own master."
-
-"_I_ had no trouble when I was a captain," Nagurski said. "Ease the
-reins on the men. Just offer them your advice, your guidance. They
-will soon see why the service selected you as captain; they will pick
-you themselves."
-
-"Did your crew voluntarily elect you as their leader?"
-
-"Of course they did, Gav. I'm an old hand at controlling crews."
-
-"Then why are you First Officer under me now?"
-
-He blinked, then decided to laugh. "I've been in space a good many
-years. I really wanted to relax a little bit more. Besides, the
-increase in hazard pay was actually more than my salary as a captain.
-I'm a notch nearer retirement too."
-
-"Tell me, did you always feel this way about letting the men select
-their own leader?"
-
- * * * * *
-
-Nagurski brought out a pipe. He would have a pipe, I decided.
-
-"No, not always. I was like you at first. Fresh from the cosmic energy
-test lab, suspicious of everything, trying to tell the old hands what
-to do. But I learned that they are pretty smart boys; they know what
-they are doing. You can rely on them absolutely."
-
-I leaned forward, elbows on knees. "Let me tell _you_ a thing,
-Nagurski. Your trust of these damn-fool spacemen is why you are no
-longer a captain. You can't trust anything out here in space, much less
-human nature. Even I know that much!"
-
-He was pained. "If you don't trust the men, they won't trust you, Gav."
-
-"They don't have to trust me. All they have to do is _obey_ me or, by
-Jupiter, get frozen stiff and thawed out just in time for court-marshal
-back home. Listen," I continued earnestly, "these men aren't going to
-think of me--of _us_, the officers, as their leaders. As far as the
-crew is concerned, Ordinary Spaceman Quade is the best man on this
-ship."
-
-"He _is_ a good man," Nagurski said. "You mustn't be jealous of his
-status."
-
-The dog growled. He must have sensed what I almost did to Nagurski.
-
-"Never mind that for now," I said wearily. "What was your idea for
-getting our exploration parties through this transphasia?"
-
-"There's only one idea for that," said Quade, ducking his long head
-and stepping through the connecting hatch. "With the Captain's
-permission...."
-
-"Go ahead, Quade, tell him," Nagurski invited.
-
-"There's only one way to wade through transphasia with any
-reliability," Quade told me. "You keep some kind of physical contact
-with the spaceship. Parties are strung out on guide line, like we were,
-but the cable has to be run back and made fast to the hull."
-
-"How far can we run it back?"
-
-Quade shrugged. "Miles."
-
-"How many?"
-
-"We have three miles of cable. As long as you can feel, taste, see,
-smell or hear that rope anchoring you to home, you aren't lost."
-
-"Three miles isn't good enough. We don't have enough fuel to change
-sites that often. You can't use the drive in a gravitational field, you
-know."
-
-"What else can we do, Captain?" Nagurski asked puzzledly.
-
-"You've said that the spaceship is our only protection from
-transphasia. Is that it?"
-
-Quade gave a curt nod.
-
-"Then," I told them, "we will have to start tearing apart this ship."
-
- * * * * *
-
-Sergeant-Major Hoffman and his team were doing a good job of ripping
-out the side of the afterhold. Through the portal I could see the
-suited men expertly guiding the huge curved sections on their ray
-projectors.
-
-"Cannibalizing is dangerous." Nagurski put his pipe in his teeth and
-shook his head disapprovingly.
-
-"Spaceships have parts as interchangeable as Erector sets. We can
-take apart the tractors and put our ship back together again after we
-complete the survey."
-
-"You can't assemble a jigsaw puzzle if some of the pieces are missing."
-
-"You can't get a complete picture, but you can get a good idea of
-what it looks like. We can take off in a reasonable facsimile of a
-spaceship."
-
-"Not," he persisted, "if _too_ many parts are missing."
-
-"Nagurski, if you are looking for a job safer than space exploration,
-why don't you go back to testing cosmic bomb shelters?"
-
-Nagurski flushed. "Look here, Captain, you are being too damned
-cautious. There is a way one handles the survey of a planet like this,
-and this isn't the way."
-
-"It's my way. You heard what Quade said. You know it yourself. The men
-have to have something tangible to hang onto out there. One slender
-cable isn't enough of an edge on sensory anarchy. If the product of
-their own technological civilization can keep them sane, I say let 'em
-take a part of that environment with them."
-
-"In departing from standard procedure that we have learned to trust,
-you are risking more than a few men--you risk the whole mission in
-gambling so much of the ship. A captain doesn't take chances like that!"
-
-"I never said I wouldn't take chances. But I'm not going to take
-_stupid_ chances. I _might_ be doing the wrong thing, but I can see you
-_would_ be doing it wrong."
-
-"You know nothing about space, Captain! You have to trust _us_."
-
-"That's it exactly, First Officer Nagurski," I said sociably. "If you
-lazy, lax, complacent slobs want to do something in a particular way, I
-know it _has_ to be wrong."
-
-I turned and found Wallace, the personnel man, standing in the hatchway.
-
-"Pardon, Captain, but would you say we also lacked initiative?"
-
-"I would," I answered levelly.
-
-"Then you'll be interested to hear that Spaceman Quade took a suit and
-a cartographer unit. He's out there somewhere, alone."
-
-"The idiot!" I yelped. "Everyone needs a partner out there. Send out a
-team to follow his cable and drag him in here by it."
-
-"He didn't hook on a cable, Captain," Wallace said. "I suppose he
-intended to go beyond the three-mile limit as you demanded."
-
-"Shut up, Wallace. You don't have to like me, but you can't twist what
-I said as long as I command this spacer."
-
-"Cool off, Gav," Nagurski advised me. "It's been done before. Anybody
-else would have been a fool to go out alone, but Quade is the most
-experienced man we have. He knows transphasia. Trust him."
-
-"I trusted him too far by letting him run around loose. He needs a
-leash in more ways than one, and I'm going to put one on him."
-
- * * * * *
-
-For me, it was a nightmare. I lay down in my cabin and thought. I had
-to think things through very carefully. One mistake was too many for
-me. My worst fear had been that someday I would overlook one tiny flaw
-and ruin a gem. Now I might have ruined an exploration and destroyed a
-man, not a stone, because I had missed the flaw.
-
-No one but a reckless fool would have gone out alone on a strange
-planet with a terrifying phenomenon, but I'd had enough evidence to see
-that space exploration _made_ a man a reckless fool by doing things on
-one planet he had once found safe and wise on some other world.
-
-The thought intruded itself: _why_ hadn't I recognized this before I
-let Quade escape to almost certain death? Wasn't it because I wanted
-him dead, because I resented the crew's resentment of my authority, and
-recognized in him the leader and symbol of this resentment?
-
-I threw away that idea along with my half-used cigarette. It might very
-well be true, but how did that help now?
-
-I had to _think_.
-
-I was going after him, that was certain. Not only for humane
-reasons--he was the most important member of the crew. With him around,
-there were only two opinions, his and mine. Without him, I'd have
-endless opinions to contend with.
-
-But it wouldn't do any good to go out no better equipped than he.
-There was no time to wait for tractors to be built if we wanted to
-reach him alive, and we certainly couldn't reach him five or ten
-miles out with our three miles of safety line. We would have to go in
-spacesuits.
-
-But how would that leave us any better off than Quade?
-
-Why was Quade vulnerable in his spacesuit, as I knew from experience he
-would be?
-
-How could we be less vulnerable, or preferably invulnerable?
-
- * * * * *
-
-"Captain, you got nothing to worry about," Quartermaster Farley said.
-He patted a space helmet paternally. "You got yourself a self-contained
-environment. The suit's eye looks into yours at the arteries in the
-back of your eyeball so it can read your amber corpuscles and feed
-you your oxygen in the right amounts; you're a bottle-fed baby. If
-transphasia gets you seeing limburger, turn on the radar and you're
-air-conditioned as an igloo. Nothing short of a cosmic blast can dent
-that hide. You got it made."
-
-"You are right," I said, "only transphasia comes right through these
-air-fast joints."
-
-"Something strange about the trance, Captain," Farley said darkly. "Any
-spaceman can tell you that. Things we don't understand."
-
-"I'm talking about something we do understand--_sound_. These suits
-perfectly soundproof?"
-
-"Well, you can pick up sound by conduction. Like putting two helmets
-together and talking without using radio. You can't insulate enough to
-block out all sound and still have a man-shaped suit. You have--"
-
-"I know. Then you have something like a tractor or a miniature
-spaceship. There isn't time for that. We will have to live with the
-sound."
-
-"What do you think he's going to hear out there, Captain? We'd like to
-find one of those beautiful sirens on some planet, believe me, but--"
-
-"I believe you," I said quickly. "Let's leave it at that. I don't know
-what he will hear; what's worrying me is _how_ he'll hear it, in what
-sensory medium. I hope the sound doesn't blind him. His radar is his
-only chance."
-
-"How do you figure on getting a better edge yourself, sir?"
-
-"I have the idea, but not the word for it. Tonal compensation, I
-suppose. If you can't shut out the noise, we'll have to drown it out."
-
-Farley nodded. "Beat like a telephone time signal?"
-
-"That would do it."
-
-"It would do something else. It would drive you nuts."
-
- * * * * *
-
-I shrugged. "It might be distracting."
-
-"Captain, take my word for it," argued Farley. "Constant sonic
-feedback inside a spacesuit will set you rocking against the grain."
-
-"Devise some regular system of interruptions," I suggested.
-
-"Then the pattern will drive you crazy. Maybe in a few months, with
-luck, I could plan some harmonic scale you could tolerate--"
-
-"We don't have a few months," I said. "How about music? There's a
-harmonic scale for you, and we can endure it, some of it. _Figaro_ and
-_Asleep in the Cradle of the Deep_ can compensate for high-pitched
-outside temperatures, and _Flight of the Bumble Bee_ to block bass
-notes."
-
-Farley nodded. "Might work. I can program the tapes from the library."
-
-"Good. There's one more thing--how are our stores of medicinal liquor?"
-
-Farley paled. "Captain, are you implying that _I_ should be running
-short on alcohol? Where do you get off suggesting a thing like that?"
-
-"I'm getting off at the right stop, apparently," I sighed. "Okay,
-Farley, no evasions. In plain figures, how much drinking alcohol do we
-have left?"
-
-The quartermaster slumped a bit. "Twenty-one liters unbroken. One more
-about half full."
-
-"Half full? How did that ever happen? I mean you had some _left_? We'll
-take this up later. I want you to run it through the synthesizer to get
-some light wine...."
-
-"Light wine?" Farley looked in pain. "Not whiskey, brandy, beer?"
-
-"Light wine. Then ration it out to some of the men."
-
-"Ration it to the men!"
-
-"That's an accurate interpretation of my orders."
-
-"But, sir," Farley protested, "you don't give alcohol to the crew in
-the middle of a mission. It's not done. What reason can you have?"
-
-"To sharpen their taste and olfactory senses. We can turn up or block
-out sound. We can use radar to extend our sight, but the Space Service
-hasn't yet developed anything to make spacemen taste or smell better."
-
-"They are going to smell like a herd of winos," Farley said. "I don't
-like to think how they would taste."
-
-"It's an entirely practical idea. Tea-tasters used to drink
-almond-and-barley water to sharpen their senses. I've observed that
-wine helps you appreciate culinary art more. Considering the mixed-up
-sensory data under transphasia, wine may help us to see where we are
-going."
-
-"Yes, sir," Farley said obediently. "I'll give spacemen a few quarts of
-wine, telling them to use it carefully for scientific purposes only,
-and then they will be able to see where they are going. Yes, sir."
-
-I turned to leave, then paused briefly. "You can come along, Farley.
-I'm sure you want to see that we don't waste any of the stuff."
-
- * * * * *
-
-"There they are!" Nagurski called. "Quade's footsteps again, just
-beyond that rocky ridge."
-
-The landscape was rich chocolate ice cream smothered with chocolate
-syrup, caramel, peanuts and maple syrup, eaten while you smoked an old,
-mellow Havana. The footsteps were faint traces of whipped cream across
-the dark, rich taste of the planet.
-
-I splashed some wine from my drinking tube against the roof of my mouth
-to sharpen my taste. It brought out the footsteps sharper. It also made
-the landscape more of a teen-ager's caloric nightmare.
-
-The four of us pulled ourselves closer together by reeling in more
-of our safety line. Farley and Hoffman, Nagurski and myself, we were
-cabled together. It gave us a larger hunk of reality to hold onto. Even
-so, things wavered for me during a wisp of time.
-
-We stumbled over the ridge, feeling out the territory. It was a sticky
-job crawling over a melting, chunk-style Hershey bar. I was thankful
-for the invigorating Sousa march blasting inside my helmet. Before the
-tape had cut in, kicked on by the decibel gauge, I had heard or felt
-something dark and ominous in the outside air.
-
-"Yes, this is definitely the trail of Quail," Nagurski said soberly.
-"This is serious business. I must ask whoever has been giggling on
-this channel to shut up. Pardon me, Captain. _You_ weren't giggling,
-sir?"
-
-"I have never giggled in my life, Nagurski."
-
-"Yes, sir. That's what we all thought."
-
-A moment later, Nagurski added, "Anyway, I just noticed it was my
-shelf--my, that is, self."
-
-The basso profundo performing _Figaro_ on my headset climbed to a
-girlish shriek. A sliver of ice. This was the call Quade and I had
-first heard as we were about to troop over a cliff. I dug in my heels.
-
-"Take a good look around, boys," I said. "What do you see?"
-
-"Quail," Nagurski replied. "That's what I see."
-
-"You," I said carefully, "have been in space a _long_ time. Look again."
-
-"I see our old buddy, Quail."
-
-I took another slosh of burgundy and peered up ahead. It _was_ Quade. A
-man in a spacesuit, faceplate in the dust, two hundred yards ahead.
-
-Grudgingly I stepped forward, out of the shadow of the ridge.
-A hysterically screaming wind rocked me on my toes. We pushed
-on sluggishly to Quade's side, moving to the tempo of _Pomp and
-Circumstance_.
-
-Farley lugged Quade over on his back and read his gauges.
-
-The Quartermaster rose with grim deliberation, and hiccuped. "Better
-get him back to the spaceship fast. I've seen this kind of thing
-before with transphasia. His body cooled down because of the screaming
-wind--psychosomatic reaction--and his heating circuits compensated for
-the cool flesh. The poor devil's got frostbite and heat prostration."
-
- * * * * *
-
-The four of us managed to haul Quade back by using the powered joints
-in our suits. Hoffman suggested that he had once seen an injured
-man walked back inside his suit like a robot, but it was a delicate
-adjustment, controlling power circuits from outside a suit. It was too
-much for us--we were too tired, too numb, too drunk.
-
-At first sight of the spacer in the distance, transphasia left me with
-only a chocolate-tasting pink after-image on my retina. It was now
-showing bare skeleton from cannibalization for tractor parts, but it
-looked good to me, like home.
-
-The wailing call sounded through the amber twilight.
-
-I realized that I was actually _hearing_ it for the first time.
-
-The alien stood between us and the ship. It was a great pot-bellied
-lizard as tall as a man. Its sound came from a flat, vibrating beaver
-tail. Others of its kind were coming into view behind it.
-
-"Stand your ground," I warned the others thickly. "They may be
-dangerous."
-
-Quade sat up on our crisscross litter of arms. "Aliens can't be
-hostile. Ethnic impossibility. I'll show you."
-
-Quade was delirious and we were drunk. He got away from us and jogged
-toward the herd.
-
-"Let's give him a hand!" Farley shouted. "We'll take us a specimen!"
-
-I couldn't stop them. Being in Alpine rope with them, I went along. At
-the time, it even seemed vaguely like a good idea.
-
-As we lumbered toward them, the aliens fell back in a solid line except
-for the first curious-looking one. Quade got there ahead of us and made
-a grab. The creature rose into the air with a screaming vibration of
-his tail and landed on top of him, flattening him instantly.
-
-"Sssh, men," Nagurski said. "Leave it to me. I'll surround him."
-
-The men followed the First Officer's example, and the rope tying them
-to him. I went along cheerfully myself, until an enormous rump struck
-me violently in the face. My leaded boots were driven down into fertile
-soil, and my helmet was ringing like a bell. I got a jerky picture of
-the beast jumping up and down on top of the others joyously. Only the
-stiff space armor was holding up our slack frames.
-
-"Let's let him escape," Hoffman suggested on the audio circuit.
-
-"I'd like to," Nagurski admitted, "but the other beasts won't let us
-get past their circle."
-
-It was true. The aliens formed a ring around us, and each time a
-bouncing boy hit the line, he only bounced back on top of us.
-
-"Flat!" I yelled. "Our seams can't take much more of this beating."
-
-I followed my own advice and landed in the dirt beside Quade.
-
-The bouncer came to rest and regarded us silently, head on an
-eighty-degree angle.
-
-I was stone sober.
-
-The others were lying around me quietly, passed out, knocked out, or
-taking cover.
-
-The ring of aliens drew in about us, closer, tighter, as the bouncer
-sat on his haunches and waited for us to move.
-
- * * * * *
-
-"Feeling better?" I asked Quade in the infirmary.
-
-He punched up his pillow and settled back. "I guess so. But when I
-think of all the ways I nearly got myself killed out there.... How far
-have you got in the tractors?"
-
-"I'm having the tractors torn down and the parts put back into the
-spaceship where they belong. We _shouldn't_ risk losing them and
-getting stuck here."
-
-"Are you settling for a primary exploration?"
-
-"No. I think I had the right idea on your rescue party. You have to
-meet and fight a planet on its own terms. Fighting confused sounds and
-tastes with music and wine was crude, but it was on the right track.
-Out there, we understood language because we were familiar with alien
-languages changed to other sense mediums by cybernetic translators.
-Using the translator, we can learn to recognize all confused data as
-easily. I'm starting indoctrination courses."
-
-"I doubt that that is necessary, sir," Quade said. "Experienced
-spacemen are experienced with transphasia. You don't have to worry. In
-the future, I'll be able to resist sensations that tell me I'm freezing
-to death--if my gauges tell me it's a lie."
-
-I examined his bandisprayed hide. "I think my way of gaining experience
-is less painful and more efficient."
-
-Quade squirmed. "Yes, sir. One thing, sir--I don't understand how you
-got me away from those aliens."
-
-"The aliens were trying to help. They knew something was wrong and they
-were prodding and probing. When the first tractor pulled up and the men
-got out, they seemed to realize our own people could help us easier
-than they could."
-
-"I am not quite convinced that those babies just meant to help us all
-the time."
-
-"But they did! First, that call of theirs--it wasn't to lead us into
-danger, but to warn us of the cliff, the freezing wind. They saw we
-were trying to find out things about their world, so they even offered
-us one of their own kind to study. Unfortunately, he was too much for
-us. They didn't give us their top man, of course, only the village
-idiot. It's just as well. We aren't allowed to dissect creatures that
-far up the intelligence scale."
-
-"But why should they want to help us?" Quade demanded suspiciously.
-
-"I think it's like Nagurski's dog. The dog came to him when it wanted
-somebody to own it, protect it, feed it, love it. These aliens _want_
-Earthmen to colonize the planet. We came here, you see, same as the dog
-came to Nagurski."
-
-"Well, I've learned one thing from all of this," Quade said. "I've been
-a blind, arrogant, cocksure fool, following courses that were good on
-_some_ worlds, _most_ worlds, but not good on _all_ worlds. I'm never
-going to be that foolhardy again."
-
-"But you're losing _confidence_, Quade! You aren't sure of yourself any
-more. Isn't confidence a spaceman's most valuable asset?"
-
-"The hell it is," Quade said grimly. "It's his deadliest liability."
-
-"In that case, I must inform you that I am demoting you to Acting
-Executive Officer."
-
-"Huh?" Quade gawked. "But dammit, Captain, you can't do that to me!
-I'll lose hazard pay and be that much further from retirement!"
-
-"That's tough," I sympathized, "but in every service a chap gets broken
-in rank now and then."
-
-"Maybe it's worth it," Quade said heavily. "Now maybe I've learned how
-to stay alive out here. I just hope I don't forget."
-
-I thought about that. I was nearly through with my first mission and
-I could speak with experience, even if it was the least amount of
-experience aboard.
-
-"Quade," I said, "space isn't as dangerous as all that." I clapped him
-on the shoulder fraternally. "You worry too much!"
-
-
-
-
-
-End of Project Gutenberg's The Spicy Sound of Success, by Jim Harmon
-
-*** END OF THIS PROJECT GUTENBERG EBOOK THE SPICY SOUND OF SUCCESS ***
-
-***** This file should be named 51351.txt or 51351.zip *****
-This and all associated files of various formats will be found in:
- http://www.gutenberg.org/5/1/3/5/51351/
-
-Produced by Greg Weeks, Mary Meehan and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-Updated editions will replace the previous one--the old editions
-will be renamed.
-
-Creating the works from public domain print editions means that no
-one owns a United States copyright in these works, so the Foundation
-(and you!) can copy and distribute it in the United States without
-permission and without paying copyright royalties. Special rules,
-set forth in the General Terms of Use part of this license, apply to
-copying and distributing Project Gutenberg-tm electronic works to
-protect the PROJECT GUTENBERG-tm concept and trademark. Project
-Gutenberg is a registered trademark, and may not be used if you
-charge for the eBooks, unless you receive specific permission. If you
-do not charge anything for copies of this eBook, complying with the
-rules is very easy. You may use this eBook for nearly any purpose
-such as creation of derivative works, reports, performances and
-research. They may be modified and printed and given away--you may do
-practically ANYTHING with public domain eBooks. Redistribution is
-subject to the trademark license, especially commercial
-redistribution.
-
-
-
-*** START: FULL LICENSE ***
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full Project
-Gutenberg-tm License (available with this file or online at
-http://gutenberg.org/license).
-
-
-Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
-electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or destroy
-all copies of Project Gutenberg-tm electronic works in your possession.
-If you paid a fee for obtaining a copy of or access to a Project
-Gutenberg-tm electronic work and you do not agree to be bound by the
-terms of this agreement, you may obtain a refund from the person or
-entity to whom you paid the fee as set forth in paragraph 1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this agreement
-and help preserve free future access to Project Gutenberg-tm electronic
-works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
-or PGLAF), owns a compilation copyright in the collection of Project
-Gutenberg-tm electronic works. Nearly all the individual works in the
-collection are in the public domain in the United States. If an
-individual work is in the public domain in the United States and you are
-located in the United States, we do not claim a right to prevent you from
-copying, distributing, performing, displaying or creating derivative
-works based on the work as long as all references to Project Gutenberg
-are removed. Of course, we hope that you will support the Project
-Gutenberg-tm mission of promoting free access to electronic works by
-freely sharing Project Gutenberg-tm works in compliance with the terms of
-this agreement for keeping the Project Gutenberg-tm name associated with
-the work. You can easily comply with the terms of this agreement by
-keeping this work in the same format with its attached full Project
-Gutenberg-tm License when you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are in
-a constant state of change. If you are outside the United States, check
-the laws of your country in addition to the terms of this agreement
-before downloading, copying, displaying, performing, distributing or
-creating derivative works based on this work or any other Project
-Gutenberg-tm work. The Foundation makes no representations concerning
-the copyright status of any work in any country outside the United
-States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other immediate
-access to, the full Project Gutenberg-tm License must appear prominently
-whenever any copy of a Project Gutenberg-tm work (any work on which the
-phrase "Project Gutenberg" appears, or with which the phrase "Project
-Gutenberg" is associated) is accessed, displayed, performed, viewed,
-copied or distributed:
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever. You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is derived
-from the public domain (does not contain a notice indicating that it is
-posted with permission of the copyright holder), the work can be copied
-and distributed to anyone in the United States without paying any fees
-or charges. If you are redistributing or providing access to a work
-with the phrase "Project Gutenberg" associated with or appearing on the
-work, you must comply either with the requirements of paragraphs 1.E.1
-through 1.E.7 or obtain permission for the use of the work and the
-Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
-1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
-terms imposed by the copyright holder. Additional terms will be linked
-to the Project Gutenberg-tm License for all works posted with the
-permission of the copyright holder found at the beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including any
-word processing or hypertext form. However, if you provide access to or
-distribute copies of a Project Gutenberg-tm work in a format other than
-"Plain Vanilla ASCII" or other format used in the official version
-posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
-you must, at no additional cost, fee or expense to the user, provide a
-copy, a means of exporting a copy, or a means of obtaining a copy upon
-request, of the work in its original "Plain Vanilla ASCII" or other
-form. Any alternate format must include the full Project Gutenberg-tm
-License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works provided
-that
-
-- You pay a royalty fee of 20% of the gross profits you derive from
- the use of Project Gutenberg-tm works calculated using the method
- you already use to calculate your applicable taxes. The fee is
- owed to the owner of the Project Gutenberg-tm trademark, but he
- has agreed to donate royalties under this paragraph to the
- Project Gutenberg Literary Archive Foundation. Royalty payments
- must be paid within 60 days following each date on which you
- prepare (or are legally required to prepare) your periodic tax
- returns. Royalty payments should be clearly marked as such and
- sent to the Project Gutenberg Literary Archive Foundation at the
- address specified in Section 4, "Information about donations to
- the Project Gutenberg Literary Archive Foundation."
-
-- You provide a full refund of any money paid by a user who notifies
- you in writing (or by e-mail) within 30 days of receipt that s/he
- does not agree to the terms of the full Project Gutenberg-tm
- License. You must require such a user to return or
- destroy all copies of the works possessed in a physical medium
- and discontinue all use of and all access to other copies of
- Project Gutenberg-tm works.
-
-- You provide, in accordance with paragraph 1.F.3, a full refund of any
- money paid for a work or a replacement copy, if a defect in the
- electronic work is discovered and reported to you within 90 days
- of receipt of the work.
-
-- You comply with all other terms of this agreement for free
- distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
-electronic work or group of works on different terms than are set
-forth in this agreement, you must obtain permission in writing from
-both the Project Gutenberg Literary Archive Foundation and Michael
-Hart, the owner of the Project Gutenberg-tm trademark. Contact the
-Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-public domain works in creating the Project Gutenberg-tm
-collection. Despite these efforts, Project Gutenberg-tm electronic
-works, and the medium on which they may be stored, may contain
-"Defects," such as, but not limited to, incomplete, inaccurate or
-corrupt data, transcription errors, a copyright or other intellectual
-property infringement, a defective or damaged disk or other medium, a
-computer virus, or computer codes that damage or cannot be read by
-your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 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-tm electronic works in accordance
-with this agreement, and any volunteers associated with the production,
-promotion and distribution of Project Gutenberg-tm electronic works,
-harmless from all liability, costs and expenses, including legal fees,
-that arise directly or indirectly from any of the following which you do
-or cause to occur: (a) distribution of this or any Project Gutenberg-tm
-work, (b) alteration, modification, or additions or deletions to any
-Project Gutenberg-tm work, and (c) any Defect you cause.
-
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of computers
-including obsolete, old, middle-aged and new computers. It exists
-because of the efforts of hundreds of volunteers and donations from
-people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need, are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future generations.
-To learn more about the Project Gutenberg Literary Archive Foundation
-and how your efforts and donations can help, see Sections 3 and 4
-and the Foundation web page at http://www.pglaf.org.
-
-
-Section 3. Information about the Project Gutenberg Literary Archive
-Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Its 501(c)(3) letter is posted at
-http://pglaf.org/fundraising. Contributions to the Project Gutenberg
-Literary Archive Foundation are tax deductible to the full extent
-permitted by U.S. federal laws and your state's laws.
-
-The Foundation's principal office is located at 4557 Melan Dr. S.
-Fairbanks, AK, 99712., but its volunteers and employees are scattered
-throughout numerous locations. Its business office is located at
-809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
-business@pglaf.org. Email contact links and up to date contact
-information can be found at the Foundation's web site and official
-page at http://pglaf.org
-
-For additional contact information:
- Dr. Gregory B. Newby
- Chief Executive and Director
- gbnewby@pglaf.org
-
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To
-SEND DONATIONS or determine the status of compliance for any
-particular state visit http://pglaf.org
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations.
-To donate, please visit: http://pglaf.org/donate
-
-
-Section 5. General Information About Project Gutenberg-tm electronic
-works.
-
-Professor Michael S. Hart is the originator of the Project Gutenberg-tm
-concept of a library of electronic works that could be freely shared
-with anyone. For thirty years, he produced and distributed Project
-Gutenberg-tm eBooks with only a loose network of volunteer support.
-
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as Public Domain in the U.S.
-unless a copyright notice is included. Thus, we do not necessarily
-keep eBooks in compliance with any particular paper edition.
-
-
-Most people start at our Web site which has the main PG search facility:
-
- http://www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
diff --git a/old/51351.zip b/old/51351.zip
deleted file mode 100644
index 07a16f2..0000000
--- a/old/51351.zip
+++ /dev/null
Binary files differ