Project Gutenberg's I'm a Stranger Here Myself, by Dallas McCord Reynolds

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


Title: I'm a Stranger Here Myself

Author: Dallas McCord Reynolds

Release Date: October 1, 2008 [EBook #26741]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK I'M A STRANGER HERE MYSELF ***




Produced by Greg Weeks, Stephen Blundell and the Online
Distributed Proofreading Team at http://www.pgdp.net






One can't be too cautious about the
people one meets in Tangier. They're all
weirdies of one kind or another.
Me? Oh,

I'm A Stranger
Here Myself

By MACK REYNOLDS

The Place de France is the town's hub. It marks the end of Boulevard Pasteur, the main drag of the westernized part of the city, and the beginning of Rue de la Liberté, which leads down to the Grand Socco and the medina. In a three-minute walk from the Place de France you can go from an ultra-modern, California-like resort to the Baghdad of Harun al-Rashid.

It's quite a town, Tangier.

King-size sidewalk cafes occupy three of the strategic corners on the Place de France. The Cafe de Paris serves the best draft beer in town, gets all the better custom, and has three shoeshine boys attached to the establishment. You can sit of a sunny morning and read the Paris edition of the New York Herald Tribune while getting your shoes done up like mirrors for thirty Moroccan francs which comes to about five cents at current exchange.

You can sit there, after the paper's read, sip your expresso and watch the people go by.

Tangier is possibly the most cosmopolitan city in the world. In native costume you'll see Berber and Rif, Arab and Blue Man, and occasionally a Senegalese from further south. In European dress you'll see Japs and Chinese, Hindus and Turks, Levantines and Filipinos, North Americans and South Americans, and, of course, even Europeans—from both sides of the Curtain.

In Tangier you'll find some of the world's poorest and some of the richest. The poorest will try to sell you anything from a shoeshine to their not very lily-white bodies, and the richest will avoid your eyes, afraid you might try to sell them something.

In spite of recent changes, the town still has its unique qualities. As a result of them the permanent population includes smugglers and black-marketeers, fugitives from justice and international con men, espionage and counter-espionage agents, homosexuals, nymphomaniacs, alcoholics, drug addicts, displaced persons, ex-royalty, and subversives of every flavor. Local law limits the activities of few of these.

Like I said, it's quite a town.


I looked up from my Herald Tribune and said, "Hello, Paul. Anything new cooking?"

He sank into the chair opposite me and looked around for the waiter. The tables were all crowded and since mine was a face he recognized, he assumed he was welcome to intrude. It was more or less standard procedure at the Cafe de Paris. It wasn't a place to go if you wanted to be alone.

Paul said, "How are you, Rupert? Haven't seen you for donkey's years."

The waiter came along and Paul ordered a glass of beer. Paul was an easy-going, sallow-faced little man. I vaguely remembered somebody saying he was from Liverpool and in exports.

"What's in the newspaper?" he said, disinterestedly.

"Pogo and Albert are going to fight a duel," I told him, "and Lil Abner is becoming a rock'n'roll singer."

He grunted.

"Oh," I said, "the intellectual type." I scanned the front page. "The Russkies have put up another manned satellite."

"They have, eh? How big?"

"Several times bigger than anything we Americans have."

The beer came and looked good, so I ordered a glass too.

Paul said, "What ever happened to those poxy flying saucers?"

"What flying saucers?"

A French girl went by with a poodle so finely clipped as to look as though it'd been shaven. The girl was in the latest from Paris. Every pore in place. We both looked after her.

"You know, what everybody was seeing a few years ago. It's too bad one of these bloody manned satellites wasn't up then. Maybe they would've seen one."

"That's an idea," I said.

We didn't say anything else for a while and I began to wonder if I could go back to my paper without rubbing him the wrong way. I didn't know Paul very well, but, for that matter, it's comparatively seldom you ever get to know anybody very well in Tangier. Largely, cards are played close to the chest.


My beer came and a plate of tapas for us both. Tapas at the Cafe de Paris are apt to be potato salad, a few anchovies, olives, and possibly some cheese. Free lunch, they used to call it in the States.

Just to say something, I said, "Where do you think they came from?" And when he looked blank, I added, "The Flying Saucers."

He grinned. "From Mars or Venus, or someplace."

"Ummmm," I said. "Too bad none of them ever crashed, or landed on the Yale football field and said Take me to your cheerleader, or something."

Paul yawned and said, "That was always the trouble with those crackpot blokes' explanations of them. If they were aliens from space, then why not show themselves?"

I ate one of the potato chips. It'd been cooked in rancid olive oil.

I said, "Oh, there are various answers to that one. We could probably sit around here and think of two or three that made sense."

Paul was mildly interested. "Like what?"

"Well, hell, suppose for instance there's this big Galactic League of civilized planets. But it's restricted, see. You're not eligible for membership until you, well, say until you've developed space flight. Then you're invited into the club. Meanwhile, they send secret missions down from time to time to keep an eye on your progress."

Paul grinned at me. "I see you read the same poxy stuff I do."

A Moorish girl went by dressed in a neatly tailored gray jellaba, European style high-heeled shoes, and a pinkish silk veil so transparent that you could see she wore lipstick. Very provocative, dark eyes can be over a veil. We both looked after her.

I said, "Or, here's another one. Suppose you have a very advanced civilization on, say, Mars."

"Not Mars. No air, and too bloody dry to support life."

"Don't interrupt, please," I said with mock severity. "This is a very old civilization and as the planet began to lose its water and air, it withdrew underground. Uses hydroponics and so forth, husbands its water and air. Isn't that what we'd do, in a few million years, if Earth lost its water and air?"

"I suppose so," he said. "Anyway, what about them?"

"Well, they observe how man is going through a scientific boom, an industrial boom, a population boom. A boom, period. Any day now he's going to have practical space ships. Meanwhile, he's also got the H-Bomb and the way he beats the drums on both sides of the Curtain, he's not against using it, if he could get away with it."

Paul said, "I got it. So they're scared and are keeping an eye on us. That's an old one. I've read that a dozen times, dished up different."

I shifted my shoulders. "Well, it's one possibility."

"I got a better one. How's this. There's this alien life form that's way ahead of us. Their civilization is so old that they don't have any records of when it began and how it was in the early days. They've gone beyond things like wars and depressions and revolutions, and greed for power or any of these things giving us a bad time here on Earth. They're all like scholars, get it? And some of them are pretty jolly well taken by Earth, especially the way we are right now, with all the problems, get it? Things developing so fast we don't know where we're going or how we're going to get there."


I finished my beer and clapped my hands for Mouley. "How do you mean, where we're going?"

"Well, take half the countries in the world today. They're trying to industrialize, modernize, catch up with the advanced countries. Look at Egypt, and Israel, and India and China, and Yugoslavia and Brazil, and all the rest. Trying to drag themselves up to the level of the advanced countries, and all using different methods of doing it. But look at the so-called advanced countries. Up to their bottoms in problems. Juvenile delinquents, climbing crime and suicide rates, the loony-bins full of the balmy, unemployed, threat of war, spending all their money on armaments instead of things like schools. All the bloody mess of it. Why, a man from Mars would be fascinated, like."

Mouley came shuffling up in his babouche slippers and we both ordered another schooner of beer.

Paul said seriously, "You know, there's only one big snag in this sort of talk. I've sorted the whole thing out before, and you always come up against this brick wall. Where are they, these observers, or scholars, or spies or whatever they are? Sooner or later we'd nab one of them. You know, Scotland Yard, or the F.B.I., or Russia's secret police, or the French Sûreté, or Interpol. This world is so deep in police, counter-espionage outfits and security agents that an alien would slip up in time, no matter how much he'd been trained. Sooner or later, he'd slip up, and they'd nab him."

I shook my head. "Not necessarily. The first time I ever considered this possibility, it seemed to me that such an alien would base himself in London or New York. Somewhere where he could use the libraries for research, get the daily newspapers and the magazines. Be right in the center of things. But now I don't think so. I think he'd be right here in Tangier."

"Why Tangier?"

"It's the one town in the world where anything goes. Nobody gives a damn about you or your affairs. For instance, I've known you a year or more now, and I haven't the slightest idea of how you make your living."

"That's right," Paul admitted. "In this town you seldom even ask a man where's he's from. He can be British, a White Russian, a Basque or a Sikh and nobody could care less. Where are you from, Rupert?"

"California," I told him.

"No, you're not," he grinned.

I was taken aback. "What do you mean?"

"I felt your mind probe back a few minutes ago when I was talking about Scotland Yard or the F.B.I. possibly flushing an alien. Telepathy is a sense not trained by the humanoids. If they had it, your job—and mine—would be considerably more difficult. Let's face it, in spite of these human bodies we're disguised in, neither of us is humanoid. Where are you really from, Rupert?"

"Aldebaran," I said. "How about you?"

"Deneb," he told me, shaking.

We had a laugh and ordered another beer.

"What're you doing here on Earth?" I asked him.

"Researching for one of our meat trusts. We're protein eaters. Humanoid flesh is considered quite a delicacy. How about you?"

"Scouting the place for thrill tourists. My job is to go around to these backward cultures and help stir up inter-tribal, or international, conflicts—all according to how advanced they are. Then our tourists come in—well shielded, of course—and get their kicks watching it."

Paul frowned. "That sort of practice could spoil an awful lot of good meat."

THE END

Transcriber's Note: This etext was produced from Amazing Stories December 1960. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Minor spelling and typographical errors have been corrected without note.





End of the Project Gutenberg EBook of I'm a Stranger Here Myself, by 
Dallas McCord Reynolds

*** END OF THIS PROJECT GUTENBERG EBOOK I'M A STRANGER HERE MYSELF ***

***** This file should be named 26741-h.htm or 26741-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/2/6/7/4/26741/

Produced by Greg Weeks, Stephen Blundell 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

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 F3.  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 MERCHANTIBILITY 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, is 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.