The Project Gutenberg eBook of Remember the Alamo!

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: Remember the Alamo!

Author: T. R. Fehrenbach

Illustrator: John Schoenherr

Release date: October 16, 2009 [eBook #30267]
Most recently updated: October 24, 2024

Language: English

Credits: Produced by Sankar Viswanathan, Greg Weeks, and the Online
Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK REMEMBER THE ALAMO! ***

Transcriber's Note:

This etext was produced from Analog Science Fact & Fiction December 1961. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.

Remember the
Alamo!

By R. R. FEHRENBACH

THIS IS, I THINK, ONE OF THE MOST POWERFUL COMMENTS ON THE MODERN SOCIAL PHILOSOPHY I HAVE SEEN—A REALLY BLOOD-CHILLING LITTLE TALE....

ILLUSTRATED BY SCHOENHERR

oward sundown, in the murky drizzle, the man who called himself Ord brought Lieutenant colonel William Barrett Travis word that the Mexican light cavalry had completely invested Bexar, and that some light guns were being set up across the San Antonio River. Even as he spoke, there was a flash and bang from the west, and a shell screamed over the old mission walls. Travis looked worried.

"What kind of guns?" he asked.

"Nothing to worry about, sir," Ord said. "Only a few one-pounders, nothing of respectable siege caliber. General Santa Anna has had to move too fast for any big stuff to keep up." Ord spoke in his odd accent. After all, he was a Britainer, or some other kind of foreigner. But he spoke good Spanish, and he seemed to know everything. In the four or five days since he had appeared he had become very useful to Travis.

Frowning, Travis asked, "How many Mexicans, do you think, Ord?"

"Not more than a thousand, now," the dark-haired, blue-eyed young man said confidently. "But when the main body arrives, there'll be four, five thousand."

Travis shook his head. "How do you get all this information, Ord? You recite it like you had read it all some place—like it were history."

Ord merely smiled. "Oh, I don't know everything, colonel. That is why I had to come here. There is so much we don't know about what happened.... I mean, sir, what will happen—in the Alamo." His sharp eyes grew puzzled for an instant. "And some things don't seem to match up, somehow—"

Travis looked at him sympathetically. Ord talked queerly at times, and Travis suspected he was a bit deranged. This was understandable, for the man was undoubtedly a Britainer aristocrat, a refugee from Napoleon's thousand-year Empire. Travis had heard about the detention camps and the charcoal ovens ... but once, when he had mentioned the Empereur's sack of London in '06, Ord had gotten a very queer look in his eyes, as if he had forgotten completely.

But John Ord, or whatever his name was, seemed to be the only man in the Texas forces who understood what William Barrett Travis was trying to do. Now Travis looked around at the thick adobe wall surrounding the old mission in which they stood. In the cold, yellowish twilight even the flaring cook fires of his hundred and eighty-two men could not dispel the ghostly air that clung to the old place. Travis shivered involuntarily. But the walls were thick, and they could turn one-pounders. He asked, "What was it you called this place, Ord ... the Mexican name?"

"The Alamo, sir." A slow, steady excitement seemed to burn in the Britainer's bright eyes. "Santa Anna won't forget that name, you can be sure. You'll want to talk to the other officers now, sir? About the message we drew up for Sam Houston?"

"Yes, of course," Travis said absently. He watched Ord head for the walls. No doubt about it, Ord understood what William Barrett Travis was trying to do here. So few of the others seemed to care.

Travis was suddenly very glad that John Ord had shown up when he did.

On the walls, Ord found the man he sought, broad-shouldered and tall in a fancy Mexican jacket. "The commandant's compliments, sir, and he desires your presence in the chapel."

The big man put away the knife with which he had been whittling. The switchblade snicked back and disappeared into a side pocket of the jacket, while Ord watched it with fascinated eyes. "What's old Bill got his britches hot about this time?" the big man asked.

"I wouldn't know, sir," Ord said stiffly and moved on.

Bang-bang-bang roared the small Mexican cannon from across the river. Pow-pow-pow! The little balls only chipped dust from the thick adobe walls. Ord smiled.

He found the second man he sought, a lean man with a weathered face, leaning against a wall and chewing tobacco. This man wore a long, fringed, leather lounge jacket, and he carried a guitar slung beside his Rock Island rifle. He squinted up at Ord. "I know ... I know," he muttered. "Willy Travis is in an uproar again. You reckon that colonel's commission that Congress up in Washington-on-the-Brazos give him swelled his head?"

Rather stiffly, Ord said, "Colonel, the commandant desires an officers' conference in the chapel, now." Ord was somewhat annoyed. He had not realized he would find these Americans so—distasteful. Hardly preferable to Mexicans, really. Not at all as he had imagined.

For an instant he wished he had chosen Drake and the Armada instead of this pack of ruffians—but no, he had never been able to stand sea sickness. He couldn't have taken the Channel, not even for five minutes.

And there was no changing now. He had chosen this place and time carefully, at great expense—actually, at great risk, for the X-4-A had aborted twice, and he had had a hard time bringing her in. But it had got him here at last. And, because for a historian he had always been an impetuous and daring man, he grinned now, thinking of the glory that was to come. And he was a participant—much better than a ringside seat! Only he would have to be careful, at the last, to slip away.

John Ord knew very well how this coming battle had ended, back here in 1836.

He marched back to William Barrett Travis, clicked heels smartly. Travis' eyes glowed; he was the only senior officer here who loved military punctilio. "Sir, they are on the way."

"Thank you, Ord," Travis hesitated a moment. "Look, Ord. There will be a battle, as we know. I know so little about you. If something should happen to you, is there anyone to write? Across the water?"

Ord grinned. "No, sir. I'm afraid my ancestor wouldn't understand."

Travis shrugged. Who was he to say that Ord was crazy? In this day and age, any man with vision was looked on as mad. Sometimes he felt closer to Ord than to the others.

he two officers Ord had summoned entered the chapel. The big man in the Mexican jacket tried to dominate the wood table at which they sat. He towered over the slender, nervous Travis, but the commandant, straight-backed and arrogant, did not give an inch. "Boys, you know Santa Anna has invested us. We've been fired on all day—" He seemed to be listening for something. Wham! Outside, a cannon split the dusk with flame and sound as it fired from the walls. "There is my answer!"

The man in the lounge coat shrugged. "What I want to know is what our orders are. What does old Sam say? Sam and me were in Congress once. Sam's got good sense; he can smell the way the wind's blowin'." He stopped speaking and hit his guitar a few licks. He winked across the table at the officer in the Mexican jacket who took out his knife. "Eh, Jim?"

"Right," Jim said. "Sam's a good man, although I don't think he ever met a payroll."

"General Houston's leaving it up to me," Travis told them.

"Well, that's that," Jim said unhappily. "So what you figurin' to do, Bill?"

Travis stood up in the weak, flickering candlelight, one hand on the polished hilt of his saber. The other two men winced, watching him. "Gentlemen, Houston's trying to pull his militia together while he falls back. You know, Texas was woefully unprepared for a contest at arms. The general's idea is to draw Santa Anna as far into Texas as he can, then hit him when he's extended, at the right place, and right time. But Houston needs more time—Santa Anna's moved faster than any of us anticipated. Unless we can stop the Mexican Army and take a little steam out of them, General Houston's in trouble."

Jim flicked the knife blade in and out. "Go on."

"This is where we come in, gentlemen. Santa Anna can't leave a force of one hundred eighty men in his rear. If we hold fast, he must attack us. But he has no siege equipment, not even large field cannon." Travis' eye gleamed. "Think of it, boys! He'll have to mount a frontal attack, against protected American riflemen. Ord, couldn't your Englishers tell him a few things about that!"

"Whoa, now," Jim barked. "Billy, anybody tell you there's maybe four or five thousand Mexicaners comin'?"

"Let them come. Less will leave!"

But Jim, sour-faced turned to the other man. "Davey? You got something to say?"

"Hell, yes. How do we get out, after we done pinned Santa Anna down? You thought of that, Billy boy?"

Travis shrugged. "There is an element of grave risk, of course. Ord, where's the document, the message you wrote up for me? Ah, thank you." Travis cleared his throat. "Here's what I'm sending on to general Houston." He read, "Commandancy of the Alamo, February 24, 1836 ... are you sure of that date, Ord?"

"Oh, I'm sure of that," Ord said.

"Never mind—if you're wrong we can change it later. 'To the People of Texas and all Americans in the World. Fellow Freemen and Compatriots! I am besieged with a thousand or more Mexicans under Santa Anna. I have sustained a continual bombardment for many hours but have not lost a man. The enemy has demanded surrender at discretion, otherwise, the garrison is to be put to the sword, if taken. I have answered the demand with a cannon shot, and our flag still waves proudly over the walls. I shall never surrender or retreat. Then, I call on you in the name of liberty, of patriotism and everything dear to the American character—" He paused, frowning, "This language seems pretty old-fashioned, Ord—"

"Oh, no, sir. That's exactly right," Ord murmured.

"'... To come to our aid with all dispatch. The enemy is receiving reinforcements daily and will no doubt increase to three or four thousand in four or five days. If this call is neglected, I am determined to sustain myself as long as possible and die like a soldier who never forgets what is due his honor or that of his homeland. VICTORY OR DEATH!'"

ravis stopped reading, looked up. "Wonderful! Wonderful!" Ord breathed. "The greatest words of defiance ever written in the English tongue—and so much more literate than that chap at Bascogne."

"You mean to send that?" Jim gasped.

The man called Davey was holding his head in his hands.

"You object, Colonel Bowie?" Travis asked icily.

"Oh, cut that 'colonel' stuff, Bill," Bowie said. "It's only a National Guard title, and I like 'Jim' better, even though I am a pretty important man. Damn right I have an objection! Why, that message is almost aggressive. You'd think we wanted to fight Santa Anna! You want us to be marked down as warmongers? It'll give us trouble when we get to the negotiation table—"

Travis' head turned. "Colonel Crockett?"

"What Jim says goes for me, too. And this: I'd change that part about all Americans, et cetera. You don't want anybody to think we think we're better than the Mexicans. After all, Americans are a minority in the world. Why not make it 'all men who love security?' That'd have world-wide appeal—"

"Oh, Crockett," Travis hissed.

Crockett stood up. "Don't use that tone of voice to me, Billy Travis! That piece of paper you got don't make you no better'n us. I ran for Congress twice, and won. I know what the people want—"

"What the people want doesn't mean a damn right now," Travis said harshly. "Don't you realize the tyrant is at the gates?"

Crockett rolled his eyes heavenward. "Never thought I'd hear a good American say that! Billy, you'll never run for office—"

Bowie held up a hand, cutting into Crockett's talk. "All right, Davey. Hold up. You ain't runnin' for Congress now. Bill, the main thing I don't like in your whole message is that part about victory or death. That's got to go. Don't ask us to sell that to the troops!"

Travis closed his eyes briefly. "Boys, listen. We don't have to tell the men about this. They don't need to know the real story until it's too late for them to get out. And then we shall cover ourselves with such glory that none of us shall ever be forgotten. Americans are the best fighters in the world when they are trapped. They teach this in the Foot School back on the Chatahoochee. And if we die, to die for one's country is sweet—"

"Hell with that," Crockett drawled. "I don't mind dyin', but not for these big landowners like Jim Bowie here. I just been thinkin'—I don't own nothing in Texas."

"I resent that," Bowie shouted. "You know very well I volunteered, after I sent my wife off to Acapulco to be with her family." With an effort, he calmed himself. "Look, Travis. I have some reputation as a fighting man—you know I lived through the gang wars back home. It's obvious this Alamo place is indefensible, even if we had a thousand men."

"But we must delay Santa Anna at all costs—"

Bowie took out a fine, dark Mexican cigar and whittled at it with his blade. Then he lit it, saying around it, "All right, let's all calm down. Nothing a group of good men can't settle around a table. Now listen. I got in with this revolution at first because I thought old Emperor Iturbide would listen to reason and lower taxes. But nothin's worked out, because hot-heads like you, Travis, queered the deal. All this yammerin' about liberty! Mexico is a Republic, under an Emperor, not some kind of democracy, and we can't change that. Let's talk some sense before it's too late. We're all too old and too smart to be wavin' the flag like it's the Fourth of July. Sooner or later, we're goin' to have to sit down and talk with the Mexicans. And like Davey said, I own a million hectares, and I've always paid minimum wage, and my wife's folks are way up there in the Imperial Government of the Republic of Mexico. That means I got influence in all the votin' groups, includin' the American Immigrant, since I'm a minority group member myself. I think I can talk to Santa Anna, and even to old Iturbide. If we sign a treaty now with Santa Anna, acknowledge the law of the land, I think our lives and property rights will be respected—" He cocked an eye toward Crockett.

"Makes sense, Jim. That's the way we do it in Congress. Compromise, everybody happy. We never allowed ourselves to be led nowhere we didn't want to go, I can tell you! And Bill, you got to admit that we're in better bargaining position if we're out in the open, than if old Santa Anna's got us penned up in this old Alamo."

"Ord," Travis said despairingly. "Ord, you understand. Help me! Make them listen!"

rd moved into the candlelight, his lean face sweating. "Gentlemen, this is all wrong! It doesn't happen this way—"

Crockett sneered, "Who asked you, Ord? I'll bet you ain't even got a poll tax!"

Decisively, Bowie said, "We're free men, Travis, and we won't be led around like cattle. How about it, Davey? Think you could handle the rear guard, if we try to move out of here?"

"Hell, yes! Just so we're movin'!"

"O.K. Put it to a vote of the men outside. Do we stay, and maybe get croaked, or do we fall back and conserve our strength until we need it? Take care of it, eh, Davey?"

Crockett picked up his guitar and went outside.

Travis roared, "This is insubordination! Treason!" He drew his saber, but Bowie took it from him and broke it in two. Then the big man pulled his knife.

"Stay back, Ord. The Alamo isn't worth the bones of a Britainer, either."

"Colonel Bowie, please," Ord cried. "You don't understand! You must defend the Alamo! This is the turning point in the winning of the west! If Houston is beaten, Texas will never join the Union! There will be no Mexican War. No California, no nation stretching from sea to shining sea! This is the Americans' manifest destiny. You are the hope of the future ... you will save the world from Hitler, from Bolshevism—"

"Crazy as a hoot owl," Bowie said sadly. "Ord, you and Travis got to look at it both ways. We ain't all in the right in this war—we Americans got our faults, too."

"But you are free men," Ord whispered. "Vulgar, opinionated, brutal—but free! You are still better than any breed who kneels to tyranny—"

Crockett came in. "O.K., Jim."

"How'd it go?"

"Fifty-one per cent for hightailin' it right now."

Bowie smiled. "That's a flat majority. Let's make tracks."

"Comin', Bill?" Crockett asked. "You're O.K., but you just don't know how to be one of the boys. You got to learn that no dog is better'n any other."

"No," Travis croaked hoarsely. "I stay. Stay or go, we shall all die like dogs, anyway. Boys, for the last time! Don't reveal our weakness to the enemy—"

"What weakness? We're stronger than them. Americans could whip the Mexicans any day, if we wanted to. But the thing to do is make 'em talk, not fight. So long, Bill."

The two big men stepped outside. In the night there was a sudden clatter of hoofs as the Texans mounted and rode. From across the river came a brief spatter of musket fire, then silence. In the dark, there had been no difficulty in breaking through the Mexican lines.

Inside the chapel, John Ord's mouth hung slackly. He muttered, "Am I insane? It didn't happen this way—it couldn't! The books can't be that wrong—"

In the candlelight, Travis hung his head. "We tried, John. Perhaps it was a forlorn hope at best. Even if we had defeated Santa Anna, or delayed him, I do not think the Indian Nations would have let Houston get help from the United States."

Ord continued his dazed muttering, hardly hearing.

"We need a contiguous frontier with Texas," Travis continued slowly, just above a whisper. "But we Americans have never broken a treaty with the Indians, and pray God we never shall. We aren't like the Mexicans, always pushing, always grabbing off New Mexico, Arizona, California. We aren't colonial oppressors, thank God! No, it wouldn't have worked out, even if we American immigrants had secured our rights in Texas—" He lifted a short, heavy, percussion pistol in his hand and cocked it. "I hate to say it, but perhaps if we hadn't taken Payne and Jefferson so seriously—if we could only have paid lip service, and done what we really wanted to do, in our hearts ... no matter. I won't live to see our final disgrace."

He put the pistol to his head and blew out his brains.

rd was still gibbering when the Mexican cavalry stormed into the old mission, pulling down the flag and seizing him, dragging him before the resplendent little general in green and gold.

Since he was the only prisoner, Santa Anna questioned Ord carefully. When the sharp point of a bayonet had been thrust half an inch into his stomach, the Britainer seemed to come around. When he started speaking, and the Mexicans realized he was English, it went better with him. Ord was obviously mad, it seemed to Santa Anna, but since he spoke English and seemed educated, he could be useful. Santa Anna didn't mind the raving; he understood all about Napoleon's detention camps and what they had done to Britainers over there. In fact, Santa Anna was thinking of setting up a couple of those camps himself. When they had milked Ord dry, they threw him on a horse and took him along.

Thus John Ord had an excellent view of the battlefield when Santa Anna's cannon broke the American lines south of the Trinity. Unable to get his men across to safety, Sam Houston died leading the last, desperate charge against the Mexican regulars. After that, the American survivors were too tired to run from the cavalry that pinned them against the flooding river. Most of them died there. Santa Anna expressed complete indifference to what happened to the Texans' women and children.

Mexican soldiers found Jim Bowie hiding in a hut, wearing a plain linen tunic and pretending to be a civilian. They would not have discovered his identity had not some of the Texan women cried out, "Colonel Bowie—Colonel Bowie!" as he was led into the Mexican camp.

He was hauled before Santa Anna, and Ord was summoned to watch. "Well, don Jaime," Santa Anna remarked, "You have been a foolish man. I promised your wife's uncle to send you to Acapulco safely, though of course your lands are forfeit. You understand we must have lands for the veterans' program when this campaign is over—" Santa Anna smiled then. "Besides, since Ord here has told me how instrumental you were in the abandonment of the Alamo, I think the Emperor will agree to mercy in your case. You know, don Jaime, your compatriots had me worried back there. The Alamo might have been a tough nut to crack ... pues, no matter."

And since Santa Anna had always been broadminded, not objecting to light skin or immigrant background, he invited Bowie to dinner that night.

anta Anna turned to Ord. "But if we could catch this rascally war criminal, Crockett ... however, I fear he has escaped us. He slipped over the river with a fake passport, and the Indians have interned him."

"Sí, Señor Presidente," Ord said dully.

"Please, don't call me that," Santa Anna cried, looking around. "True, many of us officers have political ambitions, but Emperor Iturbide is old and vain. It could mean my head—"

Suddenly, Ord's head was erect, and the old, clear light was in his blue eyes. "Now I understand!" he shouted. "I thought Travis was raving back there, before he shot himself—and your talk of the Emperor! American respect for Indian rights! Jeffersonian form of government! Oh, those ponces who peddled me that X-4-A—the track jumper! I'm not back in my own past. I've jumped the time track—I'm back in a screaming alternate!"

"Please, not so loud, Señor Ord," Santa Anna sighed. "Now, we must shoot a few more American officers, of course. I regret this, you understand, and I shall no doubt be much criticized in French Canada and Russia, where there are still civilized values. But we must establish the Republic of the Empire once and for all upon this continent, that aristocratic tyranny shall not perish from the earth. Of course, as an Englishman, you understand perfectly, Señor Ord."

"Of course, excellency," Ord said.

"There are soft hearts—soft heads, I say—in Mexico who cry for civil rights for the Americans. But I must make sure that Mexican dominance is never again threatened north of the Rio Grande."

"Seguro, excellency," Ord said, suddenly. If the bloody X-4-A had jumped the track, there was no getting back, none at all. He was stuck here. Ord's blue eyes narrowed. "After all, it ... it is manifest destiny that the Latin peoples of North America meet at the center of the continent. Canada and Mexico shall share the Mississippi."

Santa Anna's dark eyes glowed. "You say what I have often thought. You are a man of vision, and much sense. You realize the Indios must go, whether they were here first or not. I think I will make you my secretary, with the rank of captain."

"Gracias, Excellency."

"Now, let us write my communique to the capital, Capitán Ord. We must describe how the American abandonment of the Alamo allowed me to press the traitor Houston so closely he had no chance to maneuver his men into the trap he sought. Ay, Capitán, it is a cardinal principle of the Anglo-Saxons, to get themselves into a trap from which they must fight their way out. This I never let them do, which is why I succeed where others fail ... you said something, Capitán?"

"Sí, Excellency. I said, I shall title our communique: 'Remember the Alamo,'" Ord said, standing at attention.

"Bueno! You have a gift for words. Indeed, if ever we feel the gringos are too much for us, your words shall once again remind us of the truth!" Santa Anna smiled. "I think I shall make you a major. You have indeed coined a phrase which shall live in history forever!"

*** END OF THE PROJECT GUTENBERG EBOOK REMEMBER THE ALAMO! ***

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.