Book: Main Street

Previous: CHAPTER XXXVIII
Book main: Foreword

CHAPTER XXXIX

SHE wondered all the way home what her sensations would be. She wondered about it so much that she had every sensation she had imagined. She was excited by each familiar porch, each hearty "Well, well!" and flattered to be, for a day, the most important news of the community. She bustled about, making calls. Juanita Haydock bubbled over their Washington encounter, and took Carol to her social bosom. This ancient opponent seemed likely to be her most intimate friend, for Vida Sherwin, though she was cordial, stood back and watched for imported heresies.

In the evening Carol went to the mill. The mystical Om-Om-Om of the dynamos in the electric-light plant behind the mill was louder in the darkness. Outside sat the night watchman, Champ Perry. He held up his stringy hands and squeaked, "We've all missed you terrible."

Who in Washington would miss her?

Who in Washington could be depended upon like Guy Pollock? When she saw him on the street, smiling as always, he seemed an eternal thing, a part of her own self.

After a week she decided that she was neither glad nor sorry to be back. She entered each day with the matter-of-fact attitude with which she had gone to her office in Washington. It was her task; there would be mechanical details and meaningless talk; what of it?

The only problem which she had approached with emotion proved insignificant. She had, on the train, worked herself up to such devotion that she was willing to give up her own room, to try to share all of her life with Kennicott.

He mumbled, ten minutes after she had entered the house, "Say, I've kept your room for you like it was. I've kind of come round to your way of thinking. Don't see why folks need to get on each other's nerves just because they're friendly. Darned if I haven't got so I like a little privacy and mulling things over by myself."

II

She had left a city which sat up nights to talk of universal transition; of European revolution, guild socialism, free verse. She had fancied that all the world was changing.

She found that it was not.

In Gopher Prairie the only ardent new topics were prohibition, the place in Minneapolis where you could get whisky at thirteen dollars a quart, recipes for home-made beer, the "high cost of living," the presidential election, Clark's new car, and not very novel foibles of Cy Bogart. Their problems were exactly what they had been two years ago, what they had been twenty years ago, and what they would be for twenty years to come. With the world a possible volcano, the husbandmen were plowing at the base of the mountain. A volcano does occasionally drop a river of lava on even the best of agriculturists, to their astonishment and considerable injury, but their cousins inherit the farms and a year or two later go back to the plowing.

She was unable to rhapsodize much over the seven new bungalows and the two garages which Kennicott had made to seem so important. Her intensest thought about them was, "Oh yes, they're all right I suppose." The change which she did heed was the erection of the schoolbuilding, with its cheerful brick walls, broad windows, gymnasium, classrooms for agriculture and cooking. It indicated Vida's triumph, and it stirred her to activity—any activity. She went to Vida with a jaunty, "I think I shall work for you. And I'll begin at the bottom."

She did. She relieved the attendant at the rest-room for an hour a day. Her only innovation was painting the pine table a black and orange rather shocking to the Thanatopsis. She talked to the farmwives and soothed their babies and was happy.

Thinking of them she did not think of the ugliness of Main Street as she hurried along it to the chatter of the Jolly Seventeen.

She wore her eye-glasses on the street now. She was beginning to ask Kennicott and Juanita if she didn't look young, much younger than thirty-three. The eye-glasses pinched her nose. She considered spectacles. They would make her seem older, and hopelessly settled. No! She would not wear spectacles yet. But she tried on a pair at Kennicott's office. They really were much more comfortable.

III

Dr. Westlake, Sam Clark, Nat Hicks, and Del Snafflin were talking in Del's barber shop.

"Well, I see Kennicott's wife is taking a whirl at the rest-room, now," said Dr. Westlake. He emphasized the "now."

Del interrupted the shaving of Sam and, with his brush dripping lather, he observed jocularly:

"What'll she be up to next? They say she used to claim this burg wasn't swell enough for a city girl like her, and would we please tax ourselves about thirty-seven point nine and fix it all up pretty, with tidies on the hydrants and statoos on the lawns——"

Sam irritably blew the lather from his lips, with milky small bubbles, and snorted, "Be a good thing for most of us roughnecks if we did have a smart woman to tell us how to fix up the town. Just as much to her kicking as there was to Jim Blausser's gassing about factories. And you can bet Mrs. Kennicott is smart, even if she is skittish. Glad to see her back."

Dr. Westlake hastened to play safe. "So was I! So was I! She's got a nice way about her, and she knows a good deal about books, or fiction anyway. Of course she's like all the rest of these women—not solidly founded—not scholarly—doesn't know anything about political economy—falls for every new idea that some windjamming crank puts out. But she's a nice woman. She'll probably fix up the rest-room, and the rest-room is a fine thing, brings a lot of business to town. And now that Mrs. Kennicott's been away, maybe she's got over some of her fool ideas. Maybe she realizes that folks simply laugh at her when she tries to tell us how to run everything."

"Sure. She'll take a tumble to herself," said Nat Hicks, sucking in his lips judicially. "As far as I'm concerned, I'll say she's as nice a looking skirt as there is in town. But yow!" His tone electrified them. "Guess she'll miss that Swede Valborg that used to work for me! They was a pair! Talking poetry and moonshine! If they could of got away with it, they'd of been so darn lovey-dovey——"

Sam Clark interrupted, "Rats, they never even thought about making love, Just talking books and all that junk. I tell you, Carrie Kennicott's a smart woman, and these smart educated women all get funny ideas, but they get over 'em after they've had three or four kids. You'll see her settled down one of these days, and teaching Sunday School and helping at sociables and behaving herself, and not trying to butt into business and politics. Sure!"

After only fifteen minutes of conference on her stockings, her son, her separate bedroom, her music, her ancient interest in Guy Pollock, her probable salary in Washington, and every remark which she was known to have made since her return, the supreme council decided that they would permit Carol Kennicott to live, and they passed on to a consideration of Nat Hicks's New One about the traveling salesman and the old maid.

IV

For some reason which was totally mysterious to Carol, Maud Dyer seemed to resent her return. At the Jolly Seventeen Maud giggled nervously, "Well, I suppose you found war-work a good excuse to stay away and have a swell time. Juanita! Don't you think we ought to make Carrie tell us about the officers she met in Washington?"

They rustled and stared. Carol looked at them. Their curiosity seemed natural and unimportant.

"Oh yes, yes indeed, have to do that some day," she yawned.

She no longer took Aunt Bessie Smail seriously enough to struggle for independence. She saw that Aunt Bessie did not mean to intrude; that she wanted to do things for all the Kennicotts. Thus Carol hit upon the tragedy of old age, which is not that it is less vigorous than youth, but that it is not needed by youth; that its love and prosy sageness, so important a few years ago, so gladly offered now, are rejected with laughter. She divined that when Aunt Bessie came in with a jar of wild-grape jelly she was waiting in hope of being asked for the recipe. After that she could be irritated but she could not be depressed by Aunt Bessie's simoom of questioning.

She wasn't depressed even when she heard Mrs. Bogart observe, "Now we've got prohibition it seems to me that the next problem of the country ain't so much abolishing cigarettes as it is to make folks observe the Sabbath and arrest these law-breakers that play baseball and go to the movies and all on the Lord's Day."

Only one thing bruised Carol's vanity. Few people asked her about Washington. They who had most admiringly begged Percy Bresnahan for his opinions were least interested in her facts. She laughed at herself when she saw that she had expected to be at once a heretic and a returned hero; she was very reasonable and merry about it; and it hurt just as much as ever.

Her baby, born in August, was a girl. Carol could not decide whether she was to become a feminist leader or marry a scientist or both, but did settle on Vassar and a tricolette suit with a small black hat for her Freshman year.

VI

Hugh was loquacious at breakfast. He desired to give his impressions of owls and F Street.

"Don't make so much noise. You talk too much," growled Kennicott.

Carol flared. "Don't speak to him that way! Why don't you listen to him? He has some very interesting things to tell."

"What's the idea? Mean to say you expect me to spend all my time listening to his chatter?"

"Why not?"

"For one thing, he's got to learn a little discipline. Time for him to start getting educated."

"I've learned much more discipline, I've had much more education, from him than he has from me."

"What's this? Some new-fangled idea of raising kids you got in Washington?"

"Perhaps. Did you ever realize that children are people?"

"That's all right. I'm not going to have him monopolizing the conversation."

"No, of course. We have our rights, too. But I'm going to bring him up as a human being. He has just as many thoughts as we have, and I want him to develop them, not take Gopher Prairie's version of them. That's my biggest work now—keeping myself, keeping you, from 'educating' him."

"Well, let's not scrap about it. But I'm not going to have him spoiled."

Kennicott had forgotten it in ten minutes; and she forgot it—this time.

VII

The Kennicotts and the Sam Clarks had driven north to a duck-pass between two lakes, on an autumn day of blue and copper.

Kennicott had given her a light twenty-gauge shotgun. She had a first lesson in shooting, in keeping her eyes open, not wincing, understanding that the bead at the end of the barrel really had something to do with pointing the gun. She was radiant; she almost believed Sam when he insisted that it was she who had shot the mallard at which they had fired together.

She sat on the bank of the reedy lake and found rest in Mrs. Clark's drawling comments on nothing. The brown dusk was still. Behind them were dark marshes. The plowed acres smelled fresh. The lake was garnet and silver. The voices of the men, waiting for the last flight, were clear in the cool air.

"Mark left!" sang Kennicott, in a long-drawn call.

Three ducks were swooping down in a swift line. The guns banged, and a duck fluttered. The men pushed their light boat out on the burnished lake, disappeared beyond the reeds. Their cheerful voices and the slow splash and clank of oars came back to Carol from the dimness. In the sky a fiery plain sloped down to a serene harbor. It dissolved; the lake was white marble; and Kennicott was crying, "Well, old lady, how about hiking out for home? Supper taste pretty good, eh?"

"I'll sit back with Ethel," she said, at the car.

It was the first time she had called Mrs. Clark by her given name; the first time she had willingly sat back, a woman of Main Street.

"I'm hungry. It's good to be hungry," she reflected, as they drove away.

She looked across the silent fields to the west. She was conscious of an unbroken sweep of land to the Rockies, to Alaska, a dominion which will rise to unexampled greatness when other empires have grown senile. Before that time, she knew, a hundred generations of Carols will aspire and go down in tragedy devoid of palls and solemn chanting, the humdrum inevitable tragedy of struggle against inertia.

"Let's all go to the movies tomorrow night. Awfully exciting film," said Ethel Clark.

"Well, I was going to read a new book but——All right, let's go," said Carol.

VIII

"They're too much for me," Carol sighed to Kennicott. "I've been thinking about getting up an annual Community Day, when the whole town would forget feuds and go out and have sports and a picnic and a dance. But Bert Tybee (why did you ever elect him mayor?)—he's kidnapped my idea. He wants the Community Day, but he wants to have some politician 'give an address.' That's just the stilted sort of thing I've tried to avoid. He asked Vida, and of course she agreed with him."

Kennicott considered the matter while he wound the clock and they tramped up-stairs.

"Yes, it would jar you to have Bert butting in," he said amiably. "Are you going to do much fussing over this Community stunt? Don't you ever get tired of fretting and stewing and experimenting?"

"I haven't even started. Look!" She led him to the nursery door, pointed at the fuzzy brown head of her daughter. "Do you see that object on the pillow? Do you know what it is? It's a bomb to blow up smugness. If you Tories were wise, you wouldn't arrest anarchists; you'd arrest all these children while they're asleep in their cribs. Think what that baby will see and meddle with before she dies in the year 2000! She may see an industrial union of the whole world, she may see aeroplanes going to Mars."

"Yump, probably be changes all right," yawned Kennicott.

She sat on the edge of his bed while he hunted through his bureau for a collar which ought to be there and persistently wasn't.

"I'll go on, always. And I am happy. But this Community Day makes me see how thoroughly I'm beaten."

"That darn collar certainly is gone for keeps," muttered Kennicott and, louder, "Yes, I guess you——I didn't quite catch what you said, dear."

She patted his pillows, turned down his sheets, as she reflected:

"But I have won in this: I've never excused my failures by sneering at my aspirations, by pretending to have gone beyond them. I do not admit that Main Street is as beautiful as it should be! I do not admit that Gopher Prairie is greater or more generous than Europe! I do not admit that dish-washing is enough to satisfy all women! I may not have fought the good fight, but I have kept the faith."

"Sure. You bet you have," said Kennicott. "Well, good night. Sort of feels to me like it might snow tomorrow. Have to be thinking about putting up the storm-windows pretty soon. Say, did you notice whether the girl put that screwdriver back?" the girl put that screwdriver back?"

      End of the Project Gutenberg EBook of Main Street, by Sinclair Lewis  *** END OF THIS PROJECT GUTENBERG EBOOK MAIN STREET ***  ***** This file should be named 543-h.htm or 543-h.zip ***** This and all associated files of various formats will be found in:         http://www.gutenberg.org/5/4/543/  Produced by Charles Keller and David Widger  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 [email protected]  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      [email protected]   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.   
Previous: CHAPTER XXXVIII
Book main: Foreword