The Project Gutenberg eBook of And All the Earth a Grave

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: And All the Earth a Grave

Author: C. C. MacApp

Release date: October 22, 2007 [eBook #23146]

Language: English

Credits: Produced by Robert Cicconetti, Jeannie Howse and the Online
Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK AND ALL THE EARTH A GRAVE ***

Transcriber's Note:

Obvious typographical errors have been corrected. For a complete list, please see the end of this document.

This etext was produced from Galaxy Science Fiction, December 1963. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.

AND ALL THE EARTH A GRAVE

BY C.C. MacAPP

ILLUSTRATED BY GAUGHAN

There's nothing wrong with dying—it just hasn't ever had the proper sales pitch!

It all began when the new bookkeeping machine of a large Midwestern coffin manufacturer slipped a cog, or blew a transistor, or something. It was fantastic that the error—one of two decimal places—should enjoy a straight run of okays, human and mechanical, clear down the line; but when the figures clacked out at the last clacking-out station, there it was. The figures were now sacred; immutable; and it is doubtful whether the President of the concern or the Chairman of the Board would have dared question them—even if either of those two gentlemen had been in town.

As for the Advertising Manager, the last thing he wanted to do was question them. He carried them (they were the budget for the coming fiscal year) into his office, staggering a little on the way, and dropped dazedly into his chair. They showed the budget for his own department as exactly one hundred times what he'd been expecting. That is to say, fifty times what he'd put in for.

When the initial shock began to wear off, his face assumed an expression of intense thought. In about five minutes he leaped from his chair, dashed out of the office with a shouted syllable or two for his secretary, and got his car out of the parking lot. At home, he tossed clothes into a travelling bag and barged toward the door, giving his wife a quick kiss and an equally quick explanation. He didn't bother to call the airport. He meant to be on the next plane east, and no nonsense about it....

With one thing and another, the economy hadn't been exactly in overdrive that year, and predictions for the Christmas season were gloomy. Early retail figures bore them out. Gift buying dribbled along feebly until Thanksgiving, despite brave speeches by the Administration. The holiday passed more in self-pity than in thankfulness among owners of gift-oriented businesses.

Then, on Friday following Thanksgiving, the coffin ads struck.

Struck may be too mild a word. People on the streets saw feverishly-working crews (at holiday rates!) slapping up posters on billboards. The first poster was a dilly. A toothy and toothsome young woman leaned over a coffin she'd been unwrapping. She smiled as if she'd just received overtures of matrimony from an eighty-year-old billionaire. There was a Christmas tree in the background, and the coffin was appropriately wrapped. So was she. She looked as if she had just gotten out of bed, or were ready to get into it. For amorous young men, and some not so young, the message was plain. The motto, "The Gift That Will Last More Than a Lifetime", seemed hardly to the point.

Those at home were assailed on TV with a variety of bright and clever skits of the same import. Some of them hinted that, if the young lady's gratitude were really precipitous, and the bedroom too far away, the coffin might be comfy.

Of course the more settled elements of the population were not neglected. For the older married man, there was a blow directly between the eyes: "Do You Want Your Widow to Be Half-Safe?" And, for the spinster without immediate hopes, "I Dreamt I Was Caught Dead Without My Virginform Casket!"

Newspapers, magazines and every other medium added to the assault, never letting it cool. It was the most horrendous campaign, for sheer concentration, that had ever battered at the public mind. The public reeled, blinked, shook its head to clear it, gawked, and rushed out to buy.

Christmas was not going to be a failure after all. Department store managers who had, grudgingly and under strong sales pressure, made space for a single coffin somewhere at the rear of the store, now rushed to the telephones like touts with a direct pronouncement from a horse. Everyone who possibly could got into the act. Grocery supermarkets put in casket departments. The Association of Pharmaceutical Retailers, who felt they had some claim to priority, tried to get court injunctions to keep caskets out of service stations, but were unsuccessful because the judges were all out buying caskets. Beauty parlors showed real ingenuity in merchandising. Roads and streets clogged with delivery trucks, rented trailers, and whatever else could haul a coffin. The Stock Market went completely mad. Strikes were declared and settled within hours. Congress was called into session early. The President got authority to ration lumber and other materials suddenly in starvation-short supply. State laws were passed against cremation, under heavy lobby pressure. A new racket, called boxjacking, blossomed overnight.

The Advertising Manager who had put the thing over had been fighting with all the formidable weapons of his breed to make his plant managers build up a stockpile. They had, but it went like a toupee in a wind tunnel. Competitive coffin manufacturers were caught napping, but by Wednesday after Thanksgiving they, along with the original one, were on a twenty-four hour, seven-day basis. Still only a fraction of the demand could be met. Jet passenger planes were stripped of their seats, supplied with Yankee gold, and sent to plunder the world of its coffins.

It might be supposed that Christmas goods other than caskets would take a bad dumping. That was not so. Such was the upsurge of prosperity, and such was the shortage of coffins, that nearly everything—with a few exceptions—enjoyed the biggest season on record.

On Christmas Eve the frenzy slumped to a crawl, though on Christmas morning there were still optimists out prowling the empty stores. The nation sat down to breathe. Mostly it sat on coffins, because there wasn't space in the living rooms for any other furniture.

There was hardly an individual in the United States who didn't have, in case of sudden sharp pains in the chest, several boxes to choose from. As for the rest of the world, it had better not die just now or it would be literally a case of dust to dust.

Coffin Advertisement

Of course everyone expected a doozy of a slump after Christmas. But our Advertising Manager, who by now was of course Sales Manager and First Vice President also, wasn't settling for any boom-and-bust. He'd been a frustrated victim of his choice of industries for so many years that now, with his teeth in something, he was going to give it the old bite. He gave people a short breathing spell to arrange their coffin payments and move the presents out of the front rooms. Then, late in January, his new campaign came down like a hundred-megatonner.

Within a week, everyone saw quite clearly that his Christmas models were now obsolete. The coffin became the new status symbol.

The auto industry was of course demolished. Even people who had enough money to buy a new car weren't going to trade in the old one and let the new one stand out in the rain. The garages were full of coffins. Petroleum went along with Autos. (Though there were those who whispered knowingly that the same people merely moved over into the new industry. It was noticeable that the center of it became Detroit.) A few trucks and buses were still being built, but that was all.

Some of the new caskets were true works of art. Others—well, there was variety. Compact models appeared, in which the occupant's feet were to be doubled up alongside his ears. One manufacturer pushed a circular model, claiming that by all the laws of nature the foetal position was the only right one. At the other extreme were virtual houses, ornate and lavishly equipped. Possibly the largest of all was the "Togetherness" model, triangular, with graduated recesses for Father, Mother, eight children (plus two playmates), and, in the far corner beyond the baby, the cat.

The slump was over. Still, economists swore that the new boom couldn't last either. They reckoned without the Advertising Manager, whose eyes gleamed brighter all the time. People already had coffins, which they polished and kept on display, sometimes in the new "Coffin-ports" being added to houses. The Advertising Manager's reasoning was direct and to the point. He must get people to use the coffins; and now he had all the money to work with that he could use.

The new note was woven in so gradually that it is not easy to put a finger on any one ad and say, "It began here." One of the first was surely the widely-printed one showing a tattooed, smiling young man with his chin thrust out manfully, lying in a coffin. He was rugged-looking and likable (not too rugged for the spindly-limbed to identify with) and he oozed, even though obviously dead, virility at every pore. He was probably the finest-looking corpse since Richard the Lion-Hearted.

Neither must one overlook the singing commercials. Possibly the catchiest of these, a really cute little thing, was achieved by jazzing up the Funeral March.

It started gradually, and it was all so un-violent that few saw it as suicide. Teen-agers began having "Popping-off parties". Some of their elders protested a little, but adults were taking it up too. The tired, the unappreciated, the ill and the heavy-laden lay down in growing numbers and expired. A black market in poisons operated for a little while, but soon pinched out. Such was the pressure of persuasion that few needed artificial aids. The boxes were very comfortable. People just closed their eyes and exited smiling.

The Beatniks, who had their own models of coffin—mouldy, scroungy, and without lids, since the Beatniks insisted on being seen—placed their boxes on the Grant Avenue in San Francisco. They died with highly intellectual expressions, and eventually were washed by the gentle rain.

Of course there were voices shouting calamity. When aren't there? But in the long run, and not a very long one at that, they availed naught.

It isn't hard to imagine the reactions of the rest of the world. So let us imagine a few.

The Communist Block immediately gave its Stamp of Disapproval, denouncing the movement as a filthy Capitalist Imperialist Pig plot. Red China, which had been squabbling with Russia for some time about a matter of method, screamed for immediate war. Russia exposed this as patent stupidity, saying that if the Capitalists wanted to die, warring upon them would only help them. China surreptitiously tried out the thing as an answer to excess population, and found it good. It also appealed to the well-known melancholy facet of Russian nature. Besides, after pondering for several days, the Red Bloc decided it could not afford to fall behind in anything, so it started its own program, explaining with much logic how it differed.

An elderly British philosopher endorsed the movement, on the grounds that a temporary setback in Evolution was preferable to facing up to anything.

The Free Bloc, the Red Bloc, the Neutral Bloc and such scraps as had been too obtuse to find themselves a Bloc were drawn into the whirlpool in an amazingly short time, if in a variety of ways. In less than two years the world was rid of most of what had been bedeviling it.

Oddly enough, the country where the movement began was the last to succumb completely. Or perhaps it is not so odd. Coffin-maker to the world, the American casket industry had by now almost completely automated box-making and gravedigging, with some interesting assembly lines and packaging arrangements; there still remained the jobs of management and distribution. The President of General Mortuary, an ebullient fellow affectionately called Sarcophagus Sam, put it well. "As long as I have a single prospective customer, and a single Stockholder," he said, mangling a stogie and beetling his brows at the one reporter who'd showed up for the press conference, "I'll try to put him in a coffin so I can pay him a dividend."

Finally, though, a man who thought he must be the last living human, wandered contentedly about the city of Denver looking for the coffin he liked best. He settled at last upon a rich mahogany number with platinum trimmings, an Automatic Self-Adjusting Cadaver-contour Innerspring Wearever-Plastic-Covered Mattress with a built in bar. He climbed in, drew himself a generous slug of fine Scotch, giggled as the mattress prodded him exploringly, closed his eyes and sighed in solid comfort. Soft music played as the lid closed itself.

From a building nearby a turkey-buzzard swooped down, cawing in raucous anger because it had let its attention wander for a moment. It was too late. It clawed screaming at the solid cover, hissed in frustration and finally gave up. It flapped into the air again, still grumbling. It was tired of living on dead small rodents and coyotes. It thought it would take a swing over to Los Angeles, where the pickings were pretty good.

As it moved westward over parched hills, it espied two black dots a few miles to its left. It circled over for a closer look, then grunted and went on its way. It had seen them before. The old prospector and his burro had been in the mountains for so long the buzzard had concluded they didn't know how to die.

The prospector, whose name was Adams, trudged behind his burro toward the buildings that shimmered in the heat, humming to himself now and then or addressing some remark to the beast. When he reached the outskirts of Denver he realized something was amiss. He stood and gazed at the quiet scene. Nothing moved except some skinny packrats and a few sparrows foraging for grain among the unburied coffins.

"Tarnation!" he said to the burro. "Martians?"

A half-buried piece of newspaper fluttered in the breeze. He walked forward slowly and picked it up. It told him enough so that he understood.

"They're gone, Evie," he said to the burro, "all gone." He put his arm affectionately around her neck. "I reckon it's up to me and you agin. We got to start all over." He stood back and gazed at her with mild reproach. "I shore hope they don't favor your side of the house so much this time."—C.C. MacAPP

Typographical errors corrected in text:

Page 127:   "She looked as if had just" replaced with "She looked as if she had just"
Page 131:   immedately replaced with immediately
Page 131:   affort replaced with afford
Page 132:   "It flapped into the air begin, still grumbling." replaced with "It flapped into the air again, still grumbling."
Page 132:   "the pickings yere pretty good." replaced with "the pickings were pretty good."

*** END OF THE PROJECT GUTENBERG EBOOK AND ALL THE EARTH A GRAVE ***

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™ electronic works to protect the PROJECT GUTENBERG™ 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™ 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™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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™ 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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ 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™ 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™ 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™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ 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™ 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™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ 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™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ 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™’s goals and ensuring that the Project Gutenberg™ 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™ 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™ 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™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ 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™, 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.