diff options
Diffstat (limited to 'old/62839-0.txt')
| -rw-r--r-- | old/62839-0.txt | 970 |
1 files changed, 0 insertions, 970 deletions
diff --git a/old/62839-0.txt b/old/62839-0.txt deleted file mode 100644 index 9bbf2ed..0000000 --- a/old/62839-0.txt +++ /dev/null @@ -1,970 +0,0 @@ -Project Gutenberg's Trail Guide: Badger House Community, by Anonymous - -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: Trail Guide: Badger House Community - Mesa Verde Museum Association - -Author: Anonymous - -Release Date: August 3, 2020 [EBook #62839] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK TRAIL GUIDE: BADGER HOUSE *** - - - - -Produced by Stephen Hutcheson and the Online Distributed -Proofreading Team at https://www.pgdp.net - - - - - - - - - - BADGER HOUSE - Community - _Trail Guide_ - - -_25¢ -donation if you take book home._ - - BARNHART - - [Illustration: Badger House Community Trail] - - _TRAILHEAD_ - _To Long House_ - _Basketmaker Pithouses_ - _Pueblo Village_ - Mini-Train Pickup - _Badger House_ - Mini-Train Pickup - _Two Raven House_ - Mini-Train Pickup - _To Kodak & Long House Overlooks_ - (_Trail is accessible to the handicapped_) - - - - - About Your Visit... - - -Welcome to Badger House Community. This group of ruins covers nearly -seven acres. Your walk through this area is a journey through 600 years -of prehistory.... - - - - - About The Past... - - -Archeologists learn about past human behavior mostly through studying -technology. As archeologists uncover settlements of different ages, as -here on Wetherill Mesa, they can compare patterns in architecture, -tools, and village layout and note how these changed through time. From -these things, archeologists can infer how societies organized to carry -out the tasks of life and how they reorganized when necessary to meet -life’s challenges. - -In their interpretations of the past, archeologists do not always agree -with one another. There is no reason why they should. The evidence is -always incomplete and often difficult to understand.... - - [Illustration: {Pot}] - - - - - About The People... - - -Archeologists call the prehistoric Indians of the Mesa Verde “Anasazi.” -Anasazi peoples once lived over a vast area of the northern Southwest, -from the Four Corners to southern Nevada. The Anasazi were descended -from nomadic hunting and gathering peoples who occupied the Southwest -several thousand years before the time of Christ. Food plants, -originally domesticated in Mexico, spread to the Southwest through -trade. People were then able to produce food as well as collect it. -Although the Anasazi raised crops of corn, beans, and squash, such foods -probably made up only about half their diet. The people still relied on -the hunting and gathering skills passed down from their ancestors. The -Pueblo Indians of Arizona and New Mexico are the descendants of the -Anasazi. Despite four centuries of contact—and sometimes conflict—with -European culture, today’s Pueblos carry on much of the way of life the -Anasazi developed over the centuries. The Anasazi heritage lives on. - - [Illustration: {Axe}] - - - - - Living in the Ground: - Modified Basketmaker Pithouse (AD 650) - - -By the late 500s, the Anasazi had settled on various parts of the Mesa -Verde. The people lived in pithouses clustered in villages. These also -included groups of small above-ground storage rooms built of jacal -(mud-plastered posts). - - -• STOP #1 - -Pithouses were structures with their floors and lower walls below ground -surface. Large posts set into holes in the floor supported a flat roof -and sloping sidewalls of poles, juniper bark, sage, and plaster. The -sidewalls rested on the low bench around the inside of the pit, where -impressions of the poles can still be seen. - -Pithouse floor plans of this period resembled a figure-eight. The large -room was the living and sleeping area. It was equipped with a firepit or -hearth, usually located near the center. - -One or both of the holes located behind the hearth was probably a -sipapu, an important spiritual symbol still found in this position in -modern Pueblo ceremonial rooms. Pueblo tales relate that the ancestors -originated in the spirit world beneath the earth. Aided by spirits and -culture heroes, the ancestors climbed through an opening linking the -world below with this one and settled on the lands the gods had prepared -for them. The sipapu symbolized this event and the place of emergence. -Its presence in the pithouse suggests that the family conducted some -religious ceremonies at home. - - [Illustration: Early Anasazi peoples lived in semi-subterranean - homes called “pithouses.” - - The reconstruction (top) is based on the position of support post - holes and other features on the floor plan (bottom).] - -Near the far wall of the house, archeologists found a large pit -containing stones piled on a bed of sand. This was probably a heating -pit. In the evening, stones would be heated in the hearth, then placed -on the sand. They would radiate heat for several hours, warming the air -near the floor where the people slept. - -This small room is called an antechamber. It probably was used as a -storage area and also as a passageway to and from the outside. At some -point, this room was converted into another living area and equipped -with a firepit, sipapu and antechamber of its own. The pithouse became a -“duplex” housing two families, an unusual arrangement. - - [Illustration: Turkey Vulture] - - [Illustration: Common Raven] - - -• STOP #2 - -This dense pinyon-juniper forest indicates deep, well-watered soil. Some -of the best farm land on the Mesa Verde was to be found here around -Badger House Community. Today the Mesa Verde looks much as it did when -the Anasazi arrived. The birds and mammals you may see during your -walk—mule deer, ravens, turkey vultures, jays—would have been familiar -to the prehistoric people. The conspicuous hills you will see in several -places along the trail are anthills. Modern Pueblo potters sometimes -collect the small pebbles from these nests to grind up and use as -temper, the material added to pottery clay to prevent the vessels from -cracking as they dry. - - [Illustration: Steller’s Jay] - - [Illustration: Mountain Chickadee] - - - - - _Developmental Pueblo Village_ - - -Beginning about 750, Anasazi living arrangements changed rapidly. The -jacal storage rooms built near the pithouses grew into rooms of -three-room apartments. The Anasazi probably used these as summer homes, -then retreated into the better insulated pithouses with the coming of -cold weather. - - [Illustration: Plan of three-room apartments, AD 750.] - - -• STOP #3 - -The Anasazi occupied this site continuously for over 300 years. -Archeologists know of several other room-blocks and a few pithouses in -this area. This room-block was the last to be built. - -The pattern seen here—a long arc of single-room houses—appeared after -800. Note the sunken floors. - - [Illustration: Plan of early Pueblo, after AD 800.] - -These houses were built over shallow trenches. The walls were -constructed using an interesting mixture of materials and techniques. -Most were built of adobe, sometimes with stone slabs set upright along -the base. Some were built of rough stones set in thick layers of -mortar—the beginnings of true masonry, which the Anasazi would refine in -the centuries to come. - - -• STOP #4 - -Fire destroyed this entire block, and claimed a life. In one of these -rooms, archeologists found the skeleton of an adult sprawled across the -floor. An adobe wall had toppled onto the body, and it appeared that -this person was overcome by flames before this hapless victim could -escape the flames. - - [Illustration: {Sandal}] - - -• STOP #5 - -This large underground room was a great kiva or ceremonial chamber. -Here, perhaps, people from this community and others nearby gathered for -rituals marking events important in the lives of all, such as planting -and harvest. - -In this kiva, you will recognize a familiar combination of pithouse -features: central hearth, bench, and postholes. Through time, the -pithouse was devoted more and more to religious activities. - -The history of this kiva can be read in the stratigraphy, or layers of -colored soil, preserved in the earth opposite this stop. When the pit -was dug, the soil was piled around the rim. At some point, fire -destroyed part of the kiva roof. The rest was taken apart, the beams -probably used elsewhere, and the kiva abandoned. Gradually the soil -washed back over the rim and into the ruined structure. After a few feet -of dirt had accumulated, people built fires in this area, leaving the -dark charcoal stains. Finally the people filled the rest of the kiva -with earth and trash and built houses on the fill. - - [Illustration: {Decorative pattern}] - - - - - Badger House - - -• STOP #6 - -More towers have been found in the Mesa Verde-Montezuma Valley area than -in any other part of the Southwest. Most of these were located near -kivas, and many were connected to kivas by tunnels. This suggests that -towers were important in Anasazi ceremonial life, but archeologists are -not sure how. A tunnel extended 41 feet between a hatchway in the floor -of this tower and an opening in the wall of a kiva at the far end of -Badger House. This is the longest kiva-tower tunnel yet discovered in -the Southwest. The tunnel was built by digging a trench which was then -roofed with poles, brush and earth. When the kiva burned, the entrances -at both ends of the tunnel were open. Flames were drawn through the -tunnel some 20 feet towards the tower, charring the roof. - - -• STOP #7 - -This site was first occupied from about 900 through 1100. People -returned in the 1200’s, built the kiva and tower and a room-block, but -soon after abandoned the site for good. - -The earliest houses here were so disturbed by later construction that -archeologists could not get a clear idea of their number or extent. - - [Illustration: Badger House as it may have appeared in the 1200’s.] - -The ruins exhibited here are the remains of two room blocks built at -different times, one partially over the rubble of the other. The lower -foundations date from about 1000-1100, the upper from the late 1250’s. - - [Illustration: {Pitcher}] - -Compare the changes in masonry that took place over this time span. The -walls of the earlier rooms are only one-stone wide. Except for the -chipping along the edges—a technique sometimes called “scabbling”—the -stones were left rough. The walls of the later rooms, however, were -built of two parallel rows of stone and the space between them packed -with earth and rocks. The stones themselves were finished by pecking, -similar to those you will see in the walls of the small kiva at the next -stop. - -An earth-filled bench was built at one end of each of the later rooms. -These may have been sleeping platforms, raised to avoid drafts and the -cold air that settled near the floors overnight. - -No roofing timbers were found in this room-block. Archeologists believe -that when the Anasazi abandoned this site they took much of Badger House -with them. Stones and beams from these rooms probably found a place in -the walls and roofs of Wetherill Mesa cliff dwellings. - - -• STOP #8 - -After about 900, Mesa Verde communities were dotted with kivas like this -one. Small kivas probably were used by several related families or by -secret religious societies whose members specialized in performing -certain types of ceremonies. The roof was at ground surface. Kiva roofs -were supported by an ingenious cribbed framework of logs. The ends of -the logs rested on the pilasters or columns along the kiva wall. Note -the large rectangular pit or vault in the floor. The ends of this vault -were stepped and supported a plank hewn from ponderosa pine. -Archeologists believe that this was used as a drum. - - [Illustration: WETHERILL MESA ARCHEOLOGICAL PROJECT - - Between 1958 and 1964, archeological crews excavated in several - sites on Wetherill Mesa. This work was funded by the National - Geographic Society and the National Park Service. At the time, the - Wetherill Mesa Project was among the largest “digs” ever undertaken - in the United States. A number of different fields participated, - including botanists, zoologists, and geologists. All applied their - special skills in this effort to better understand the world of the - prehistoric peoples of the Mesa Verde.] - -Around 1200, most of the Mesa Verde Anasazi abandoned their homes on the -mesa tops and settled in the alcoves or overhangs along the canyon -walls. Some people continued to live—or at least to use ceremonial -sites—on the mesa tops, however. Archeologists are virtually certain -that the tower, kiva, and last block of rooms at Badger House were built -in 1258. - - -• STOP #9 - -Archeology can tell us much about how human activities alter the natural -environment. Consider this tale of two rabbits: - -When the Anasazi settled on the Mesa Verde, it looked much as it does -today. Cottontails are now very common in the mesas while jackrabbits -are rare. Yet the animal bone recovered from sites like Badger House -included as much jackrabbit as cottontail. - - - Why? - - [Illustration: Cottontail] - -In clearing land for farming, the Anasazi converted areas of the mesa -tops into the sort of open habitat jackrabbits favor. The species moved -into these areas and multiplied quickly. After the Anasazi abandoned -Mesa Verde, the brush and forest grew over the former cornfields. As the -brush returned, so did the cottontails—and the jackrabbits retreated to -the open country of the Montezuma Valley, where they are common today. - - [Illustration: Jackrabbit] - - - - - Two Raven House - - -The Anasazi occupied this site at various times from the 900’s into the -1100’s. They left behind some unusual and puzzling architectural -features.... - - -• STOP #10 - -The sides and floor of this pit were fire-reddened, and archeologists -believe it was used as an oven. Food probably was placed on a bed of hot -stones, covered with earth, and allowed to bake for several hours. - - -• STOP #11 - -This small underground room was among the last structures built on this -site. Archeologists do not know its purpose, but it resembles a -miniature kiva. - -The last building on this site was a small pueblo. From the time the -Anasazi began to live in above-ground dwellings, their villages usually -included open courtyards or plazas. The kivas were located in this area. -Modern Pueblo Indians use the plaza as a work area, a place to -socialize, and a stage for the dances that are often a part of religious -ceremonies. - - [Illustration: The palisade was built of upright poles, with - branches probably woven between them.] - - -• STOP #12 - -A palisade, or fence of posts and brush, partially enclosed the plaza of -Two Raven House. Archeologists speculate that such structures may have -been windbreaks to shelter the plaza or even barriers to keep Anasazi -turkeys in (or out) of the village. Although palisades have been -discovered at only a few other sites in the Southwest, they may have -been common features of Anasazi villages. Archeologists seldom have the -time (or money) to spend stripping away the topsoil in search of the -telltale rows of postholes. - - -• STOP #13 - -Between 1280 and 1300, the Anasazi left Mesa Verde and moved south. Some -of the people may have joined the Hopi in northern Arizona, but most -probably settled among the Pueblos in the Rio Grande Valley of New -Mexico. Archeologists are still not certain why the Anasazi abandoned -much of their homeland at this time. - -Drought conditions, which began around 1276 and persisted for nearly a -generation, may have been partly to blame. Yet, the Anasazi had survived -several previous droughts. By 1280, however, the people may have been -facing other serious problems in their environment, including exhausted -soil and erosion. - - _Even after a century of research, mysteries remain...._ - - -• STOP #14 - -These stones are the remains of toppled walls. They were removed from in -and around the rooms during excavation. - - -A key ingredient in making a house into a ruin is neglect. Nature does -the rest. Walls and roofs of abandoned houses sag and fall. Soil, moved -by water and wind, builds up against the foundations. Plants with -shallow roots sprout, anchoring the soil, which eventually becomes deep -enough to support brush cover. Given time, the result is a mound—one -littered with lichen-covered stones, pot sherds, flakes of stone and -mortar, but otherwise nearly blending into the landscape. You may have -wondered how archeologists estimate the height of walls when so few are -left standing. The answer lies here. They collect the debris and measure -the pile. - - [Illustration: {Pitcher}] - - - - - Wetherill Mesa - Planning Information Sheet - - -The following information will help you plan your visit to Wetherill -Mesa. The road to Wetherill is open from 8:00 a.m. to 4:30 p.m. The -12-mile, 30/45 minute drive offers a number of excellent views of the -Park and Four Corners. - -NOTE: Vehicles in excess of 8,000 G.V.W. and/or 25 feet in length are -prohibited. - - - Summer Activities - -Wetherill Mesa offers a variety of sights, from cliff dwellings to mesa -top ruins. From the parking area, walk to the information kiosk and -mini-train loading area. There the Ranger will help you plan your visit -to the ruins. - -Step House Ruin: The ½-mile self-guided walk takes 45 minutes to -complete. Guidebooks are available on the trail to the ruin. A Ranger is -on duty in the dwelling to answer any questions. This ruin may be -visited anytime between 9:15 a.m. and 5:15 p.m. - - - Mini-Train - - [Illustration: {Petroglyph}] - -Departs from the kiosk area every ½-hour from 9:00 a.m. to 5:00 p.m. -There may be an hour wait for tours. You must ride the mini-train to -visit: - - • The Ranger guided tour at Long House - • The self-guided Badger House Community walk - • The Kodak House Overlook - • The Long House Overlook - • The Nordenskiöld’s Ruin #16 - -Long House: This Ranger guided tour of the Park’s second largest -dwelling leaves every ½-hour from 9:00 a.m. to 5:00 p.m. at the trail -head. The total round trip walking distance is ½-mile and takes -approximately one hour. - -Note: Tours are limited to 50 people on a first come, first served -basis. This tour is not recommended for those with a heart condition. -Last tour to Long House leaves from the kiosk at 5:00 p.m. - -Badger House Community: This ¾-mile self-guided trail will take you to -four mesa top ruins. - - 1. Modified Basketmaker Pithouse - 2. Pueblo Village and Great Kiva - 3. Badger House - 4. Two Raven House - -Guidebooks are available at the beginning of the trail and a Ranger will -be roving the trail in order to answer any questions or provide -assistance. This ruin may be visited anytime between 9:45 a.m. and 5:30 -p.m. Visitors taking the 5:00 p.m. tour (last tour) to Long House will -not be able to visit Badger House or Step House. - -Two Overlooks: Kodak viewpoint and Long House viewpoint. - -NOTICE: The mini-train and most trails are accessible by wheelchair. - - • All hiking is restricted. Ask a Ranger for hiking information. - • Smoking is restricted to the parking area. - • Pets are not allowed beyond the parking area. - • Please use trash cans. - -The ARA (concessioner) van departs from Far View Lodge at 9:30 a.m. - - [Illustration: {Cliff houses}] - - [Illustration: WETHERILL MESA] - - STEP HOUSE - Trail (Self-Guided) - RANGER STATION - RESTROOMS - FOOD SERVICE - INFORMATION - MINI-TRAIN LOADING AREA - NORDENSKIÖLD’S RUIN #16 - LONG HOUSE - Ranger Guided Tours - BADGER HOUSE - Community Trail (Self-Guided) - BADGER HOUSE Stop - TWO RAVEN HOUSE - Stop - KODAK HOUSE - Overlook - Stop - LONG HOUSE - Overlook - Stop - PUEBLO VILLAGE - Stop - Legend - Paved Road - Foot Path - Trailhead - Primary Trailhead - - - - - [Illustration: {Mesa Verde Museum Association Logo}] - - This booklet was published by the - MESA VERDE MUSEUM ASSOCIATION, INC. - (No government funds were expended) - - - FOR YOUR SAFETY - - Do not allow your visit to be spoiled by an accident. Efforts have - been made to provide for your safety and comfort. Warning signs are - placed among the ruins and along trails and walls, but there are still - hazards that require your alertness and vigilance. Please exercise - common sense and caution. - - - HELP US PROTECT THIS NATIONAL PARK - - Please leave plants, animals, rocks and other natural and manmade - features undisturbed. Under the 1906 Federal Antiquities Act and the - Archeological Resource Protection Act of 1979, it is unlawful to - appropriate, excavate, injure, or destroy any historic or prehistoric - ruin or any object of antiquity on federal lands. - - - - - Transcriber’s Notes - - -—Silently corrected a few typos. - -—Retained publication information from the printed edition: this eBook - is public-domain in the country of publication. - -—In the text versions only, text in italics is delimited by - _underscores_. - - - - - - - -End of Project Gutenberg's Trail Guide: Badger House Community, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK TRAIL GUIDE: BADGER HOUSE *** - -***** This file should be named 62839-0.txt or 62839-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/8/3/62839/ - -Produced by Stephen Hutcheson and the Online Distributed -Proofreading Team at https://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. |
