diff options
Diffstat (limited to 'old/65378-0.txt')
| -rw-r--r-- | old/65378-0.txt | 829 |
1 files changed, 0 insertions, 829 deletions
diff --git a/old/65378-0.txt b/old/65378-0.txt deleted file mode 100644 index 47d0783..0000000 --- a/old/65378-0.txt +++ /dev/null @@ -1,829 +0,0 @@ -The Project Gutenberg eBook of Reality Unlimited, by Robert Silverberg - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Reality Unlimited - -Author: Robert Silverberg - -Release Date: May 18, 2021 [eBook #65378] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Greg Weeks, Mary Meehan and the Online Distributed - Proofreading Team at http://www.pgdp.net - -*** START OF THE PROJECT GUTENBERG EBOOK REALITY UNLIMITED *** - - - - - REALITY UNLIMITED - - By Robert Silverberg - - It was to be the last word in theatre fun; - you experienced the action as if you were there. - The trouble was--the fun could become too real! - - [Transcriber's Note: This etext was produced from - Imagination Stories of Science and Fantasy - August 1957 - Extensive research did not uncover any evidence that - the U.S. copyright on this publication was renewed.] - - -It was going to be the show of the century--absolutely the tops. - -There was a line eight blocks long outside the theater--the theater -that had been specially built to contain _Ultrarama_. - -Paul Hendriks had been in line since early the morning before, and so -he was only a block or so from the still-unopened ticket-booth. His -wife had come by from time to time, bringing sandwiches and coffee. -Hendriks was determined to get a pair of tickets. - -He turned to the man next to him. "Got the time?" - -"Five to nine." - -"That's what I thought. That means the ticket-office opens in five -minutes." Hendriks rose on tiptoe and squinted ahead. "There must be -five hundred people ahead of us." - -"They say the theater holds five thousand." - -"I know. And that you get the same effect no matter where you sit. But -still, I'd like to be right down there in the front." - -The other man nodded. "That goes for all of us." - -Hendriks grinned. "You know, this is the first time I ever heard of an -opening performance being managed right. I mean, thrown open for public -sale instead of being reserved for bigwigs." - -"Damned public-spirited," the other agreed. - -Suddenly the line began to edge forward. - -"They're selling tickets!" - -"The booth is open!" - -About an hour later, Hendriks plunked down his twenty dollars before -the efficient-looking girl in the ticket-cage and was handed a bulky -envelope. - -"These my tickets?" - -"That's right, sir." - -A little puzzled, but happy, he turned away and dug in the envelope. -He pulled out, not the familiar pasteboards, but two costly-looking -sumptuous engraved invitations on thick stiff paper. They said: - - _You are invited_ - _To the first showing anywhere in the world._ - of - ULTRARAMA - the sensational new film process - realer than life! - Wednesday, April 25, 1973 - at 8:00 PM - -Clutching the invitations as if they were his leases on life, Hendriks -stepped into the quiktrans and moments later stepped out again just -outside the door. - -His wife was waiting for him with an expectant look on her face. - -"Did you get them?" - -"I sure did! Two engraved invitations, at ten bucks a throw." - -"They'd better be worth it," she said anxiously. - -"Didn't you see that line when you brought me breakfast? _Eight -blocks!_ Hundreds and hundreds of people all trying to get to see the -first performance." - -"That doesn't mean a thing," she said. "After all, no one's ever seen -the complete movie--" - -"It's not a movie," he corrected. - -"All right, the complete whatchamacallit. No one's ever seen the -complete thing--not even the people who made it. So how do you know -it's good?" - -"Believe me, honey, this is going to be the greatest ever!" - - * * * * * - -On Wednesday, April 25, 1973, at 7:30 in the evening, the Hendriks -stood in the midst of a vast crowd that thronged the open plaza before -the Ultrarama Theater. The theater itself was a towering edifice that -had been built just for this production; it was one of the world's most -impressive buildings. - -"All right, all right," a policeman shouted. "Ticket-holders come this -way. The rest of you stay back." - -They cleared a channel through the mob and the Hendriks, along with -several hundred other early arrivees, followed along to the door of the -vast theater. - -"What are all these people doing here?" Mrs. Hendriks asked. - -Her husband shrugged. "Maybe they plan on crashing the gate--or -possibly they think there may be some tickets left. I tell you, we're -awfully lucky to be where we are right now." - -He extended the invitations to a tall, haughty-looking doorman in a -resplendent uniform. The doorman merely nodded and gestured them inside. - -"Don't they tear up the tickets?" - -"Not on opening night," Hendriks said. "They're letting us keep them as -souvenirs." - -They stepped inside and found themselves in a vast, almost boundless -vestibule carpeted with deep pile synthofoam of a lush purple color. -Vaulting arches of gleaming metal swept upward to the barely visible -ceiling. - -"If this is just the foyer," Paul Hendriks said, "imagine what it must -be inside!" - -His wife nudged him. "Look--isn't that shocking!" - -A girl of about seventeen was coming toward them, smiling cheerfully. -Hendriks blinked. She wore only two nearly-transparent strips of -shimmering cloth, one over her breasts and the other wrapped round her -hips. - -"Good evening," she said. "I'm your usher. May I show you to your -seats?" - -"They really put on a show here," Hendriks muttered. The girl glanced -at the invitations he was clutching and beckoned them to follow her. -She led the way, twitching her hips invitingly. - -A bright aluminoid door loomed before them. The girl touched a switch -and the door slid back, revealing the actual interior of the theater. - -Hendriks gasped. - -It was nearly the size of a football stadium. Where the playing field -should be were seats, elaborate plush pneumatic affairs. And ringing -the seats was the Screen. - -The Screen covered the entire walls, floor, ceiling. It hemmed the -audience in completely. As Hendriks took his seat, he felt totally -surrounded by it. - -They waited impatiently for the half hour to pass. The theater filled -up rapidly, with first-nighters in all their finery. - -"I'm glad we wore our formal clothes, dear." - -"Yes," Hendriks said, looking at the others. "This is quite an event. -Quite an event." - - * * * * * - -The theater was totally filled by 8 P. M. sharp; the corps of near-nude -usherettes performed their job swiftly and efficiently. - -And suddenly a voice said, "Welcome to ULTRARAMA." - -It was a cultured, soft female voice--and it came from so close to him -that he glanced in surprise at his wife. But she was looking at him. -She had heard the voice too. - -It continued: "You are about to witness the most spectacular form -of entertainment ever conceived by the mind of man. Twelve years of -concentrated work went into producing what you are about to see--and -no one but you will experience it. Each of you will be _taking part_; -each of you will, as the series of scenes we have assembled unfolds, -be caught up in the reality of ULTRARAMA--the _realer_-than-reality -Ultra-reality of ULTRARAMA. Shall we begin?" - -The lights in the theater dimmed--and the vast screen came to life. - -It was incredible. - -And they were in Africa. - -The huge plains of South Africa opened out before them. Hendriks -turned his head, looking around in astonishment. The audience seemed -to have disappeared. He was alone--alone in a world of yellowing grass -and strange thick trees, a flat world where death could strike at any -moment. - -In the distance he saw four grotesque shapes--giraffes, moving along -in their ungainly but yet tremendously rapid way, their long necks -projecting stiffly from their bodies. He repressed a chuckle. - -And then a low growl made him jump. He backed against a rough-barked -tree and felt sweat cascade down his body as a tawny shape sprang from -behind a twisted shrub, pounced on one of the giraffes, smashed the -fragile neck with a fierce swipe of a paw. - -The lioness. Sudden death springing from nowhere, a bright streak that -brought violence. Hendriks looked around uneasily. The giraffes had -fled; the lioness was dragging her kill into the underbrush. The warm -smell of death was in the air--that, and the buzzing of green-eyed -flies an inch long. Perched on a scrawny, almost leafless tree were -hooded ugly shapes. - -Vultures. _Are they waiting for me?_ - -This was _too_ real. This was _unbearably_ real. - -A herd of gazelles came bounding out of the background, relieving some -of the tension. The lovely creatures seemed to float along, touching -the ground only at occasional intervals. Behind them marched the -dull-gray bulks of a herd of elephants, shambling with a ponderous gait. - -This was Africa. This was the real thing, Hendriks told himself. It -wasn't a show. Through some magic the ULTRARAMA people had actually -sent him here. - -He moved away, investigating. A sluggish black stream wound through the -jungle; curious, Hendriks walked toward it. Dark logs lay strewn almost -at random in the shallow muddy water at the sides of the stream. But -as he watched, one of the logs yawned, showing a double row of deadly -teeth, and slid sleepily off into deeper waters. - -Crocodiles. Death threatened everywhere in the jungle. - -Monkeys chittered overhead; bright-plumaged birds flapped from tree to -tree. Hendriks felt the heat, his nostrils drew in the smell. This was -real. He wondered if it would ever end, if he would ever return to his -neat little city apartment and to his wife and children. - -He glanced away from the stream, looked up at the sun blazing in the -bright blue sky. And abruptly black death came roaring at him from a -tree. - -Hendriks had just a moment to recognize it. A leopard, black, sleek, -moving with the easy grace of a machine designed for killing. He -toppled backward under the impetus of the beast's furious attack, -smelled the soft musky smell of the killer. - -Then claws reached for his throat. Hot barbs of red pain shot through -him. He screamed out, fought, tried to hold the snapping jaws away. - -"No! No! It isn't real! Get away from me!" - -And in that instant Africa vanished. - - * * * * * - -"THE SECOND ILLUSION," that soft voice next to his ear said. - -He was again alone, in an unfamiliar room. A lady's boudoir, he saw. -A satin-covered spread lay over a wide, inviting bed; dressing-tables -were laden with perfumes and cosmetics. - -Behind him the door opened. A woman entered. - -He had never seen her before. She was tall, dressed only in a filmy -negligee that barely concealed her long sleek legs, her firm breasts. -She was all he had ever wanted in a woman; she awakened desires that -had been dead in him for twenty years. - -"Hello," she said. Her voice was throbbingly throaty. "I've waited a -long time for you, Paul Hendriks." - -_How did she know my name? How_-- - -Then he stopped asking questions. She had glided close to him, stood -there, bosom gently rising and falling, looking into his eyes. She was -nearly as tall as he. He smelled her enticing perfume. - -"Come," she said, taking his hand. She led him toward a chaise lounge. - -He frowned. "But my wife ..." he murmured, feeling like seventeen -different kinds of idiot as he said the words. - -"Your wife is happy where she is. Come to me, Paul." - -She drew him down beside her.... - -What seemed like hours went by. Suddenly he felt a rough hand grab him, -awakening him. - -A stranger stood there, fully dressed, menace glinting in his eyes. -"Who is this man, Louise?" he demanded. - -Wide-eyed shock was evident on the woman's face. "But--I didn't expect -you until--" - -"Of course not." Hendriks watched in horror as the newcomer drew a gun -from his pocket. He lifted it; the barrel seemed to point directly at -Hendriks' eyes. The finger began to tighten on the trigger-- - - * * * * * - -"THE THIRD ILLUSION," said a soft voice. - -And he was holding a billowing net and a strange three-pronged weapon. -The sound of a roaring multitude reached his ears. He blinked, -orientating himself to the new illusion, and saw that he was in an -immense stadium. Curiously-garbed people were staring down at him. - -_My God_, he thought. _The Coliseum!_ - -And even as the thought of recognition burst upon him, he saw -his opponent advancing over the bloody sand. It was a swarthy, -broad-shouldered man in a leather tunic, wielding a thick, short sword. - -Swordsman against netman. It was deadly, deadly. - -Hendriks knew enough history to be aware of what was expected of -him. He had to ensnare the swordsman in the net and kill him with -the trident before that fierce sword could pierce his heart. It was -anything but an equal contest, but with proper agility-- - -The sword flashed on high. Desperately Hendriks parried it with the -hilt of his trident and whirled the net through the air. The swordsman -laughed and leaped back. - -Hendriks advanced, looking for an opening. The roars of the crowd were -deafening. He swung the net tentatively, readying himself for the cast. -Tired muscles throbbed in his arms and thighs. - -The swordsman retreated deftly, smiling. He looked confident. Hendriks -began the cast. - -Suddenly the sword flashed again. It was a lightning-fast attack. -Hendriks managed to get the trident up to protect himself; the -impact sent pain coursing up his arm, and, numbed, he dropped the -three-pronged weapon. Laughing jovially, his opponent kicked the -trident far across the stadium and advanced with the sword. - -Hendriks knew what he had to do. He dropped to his knees before the -advancing swordsman and gestured toward the audience. - -The swordsman nodded. He lifted the sword, held it over Hendriks' head, -and looked up at the grand dais. Hendriks looked up as well. - -The thumbs were down. Emphatically so. - -The sword began to descend-- - - * * * * * - -"THE FOURTH ILLUSION," said the voice. - -He was racing madly down the Indianapolis Speedway, bobbing along at -nearly 150 miles an hour in a flimsy-looking little racing auto. Blurs -whizzed by on all sides. - -Ahead of him he saw a car suddenly swerve into the embankment and burst -into a mass of flames. With desperate urgency he yanked on the wheel, -tried to avoid the pileup-- - -And failed. He felt his car going end over end into the air, and shut -his eyes, waiting for the explosion that would follow. - -"THE FIFTH ILLUSION," the voice said. - -He was in a prehistoric jungle; strange stumpy trees were all around, -lush vegetation. A slow-moving beast of immense size was thundering -away from him, its tiny head close to the ground snapping up vegetation -without cease. Overhead a leather-winged flying reptile moved through -the air in jerky swoops. - -There was sudden thunder behind him. He turned. - -Through a haze of giant mosquitoes he saw a mountain of a beast -advancing toward him, tiny forepaws clutching the air, vast head -opening to reveal foot-long teeth. - -He started to run, but even as he did so he knew it was fruitless. -In the steamy jungle sweat poured down him like summer rain. The hot -breath of the tyrannosaur was only feet behind him. - -Hendriks turned, looked up. The mighty jaws were opening; the -knife-like teeth beckoned. - -"No!" he screamed "No!" - -Suddenly all went blank. - - * * * * * - -He sat in numbed silence for an instant, realizing he was back in the -theater. - -The voice in his ear said, "There will be a brief intermission before -proceeding with the remaining half of the program. Please remain in -your seats to avoid confusion. Thank you." - -Hendriks shook his head wearily; he was dizzy, utterly exhausted. His -stiff white shirt had lost all its starch. He was bathed in sweat. -His hands shook. His fingernails, he noticed, had been chewed to the -quick. He felt as if he had been to hell and back. - -He finally mustered enough strength to look over at his wife. She was -sitting back in her plush chair, utterly beaten. He glanced around the -theater. The other first-nighters were sitting in attitudes ranging -from glassy-eyed exhaustion to complete nervous breakdown. - -"The second part of the program will begin in three minutes," the -pleasant voice said. - -"Oh, no it won't!" Hendriks muttered out loud. His voice sounded like a -harsh croak in his ears. He seized his wife by the hand; she felt cold, -clammy. - -"Let's go, Dot. Let's get out of here." - -She came to life and nodded in silent agreement. Weakly they tottered -down the vast aisle, past the pretty near-nude usherettes, through the -huge vestibule, out into the coolness of the night air and the relative -peace of the city. - -There were still some people gathered outside. - -"How is it? Real nice?" - -"Is it over?" - -"Hey, you leavin' so soon?" - -Hendriks ignored them. He hailed a jetcab, helped his wife in, -staggered in himself. He gave the driver his address. - -"You comin' from the Ultrarama show?" the driver asked. - -Hendriks nodded. - -"Swell thing, ain't it? It's supposed to be _real_, and I mean real!" - -"It sure is," Hendriks agreed. He leaned back and tried to relax. His -nerves were still quivering like overtaut harp strings. - -"It's quite a thing," he said. "But not for me. I'm going home. I'm -going to take a nice calming shower, a sedative, and get in bed. Then -I'm going to read a nice quiet book. How about you, Dot?" - -She nodded. "_That's_ real enough for me," she said. - -*** END OF THE PROJECT GUTENBERG EBOOK REALITY UNLIMITED *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-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 an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-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 -www.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 unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-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 other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-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 in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-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 website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-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 the Project Gutenberg Literary Archive Foundation, the manager 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 -works not protected by U.S. copyright law 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 information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation's website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty 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 not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-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. |