The Project Gutenberg EBook of A Bad Day for Sales, by Fritz Leiber

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/license


Title: A Bad Day for Sales

Author: Fritz Leiber

Release Date: January 1, 2016 [EBook #50819]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK A BAD DAY FOR SALES ***




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

Don't wait to "Get 'em while they're hot."
By then, it is too late to get them of all!

The big bright doors of the office building parted with a pneumatic whoosh and Robie glided onto Times Square. The crowd that had been watching the fifty-foot-tall girl on the clothing billboard get dressed, or reading the latest news about the Hot Truce scrawl itself in yard-high script, hurried to look.

Robie was still a novelty. Robie was fun. For a little while yet, he could steal the show. But the attention did not make Robie proud. He had no more emotions than the pink plastic giantess, who dressed and undressed endlessly whether there was a crowd or the street was empty, and who never once blinked her blue mechanical eyes. But she merely drew business while Robie went out after it.

For Robie was the logical conclusion of the development of vending machines. All the earlier ones had stood in one place, on a floor or hanging on a wall, and blankly delivered merchandise in return for coins, whereas Robie searched for customers. He was the demonstration model of a line of sales robots to be manufactured by Shuler Vending Machines, provided the public invested enough in stocks to give the company capital to go into mass production.

The publicity Robie drew stimulated investments handsomely. It was amusing to see the TV and newspaper coverage of Robie selling, but not a fraction as much fun as being approached personally by him. Those who were usually bought anywhere from one to five hundred shares, if they had any money and foresight enough to see that sales robots would eventually be on every street and highway in the country.

Robie radared the crowd, found that it surrounded him solidly, and stopped. With a carefully built-in sense of timing, he waited for the tension and expectation to mount before he began talking.

"Say, Ma, he doesn't look like a robot at all," a child said. "He looks like a turtle."

Which was not completely inaccurate. The lower part of Robie's body was a metal hemisphere hemmed with sponge rubber and not quite touching the sidewalk. The upper was a metal box with black holes in it. The box could swivel and duck.

A chromium-bright hoopskirt with a turret on top.

"Reminds me too much of the Little Joe Paratanks," a legless veteran of the Persian War muttered, and rapidly rolled himself away on wheels rather like Robie's.

His departure made it easier for some of those who knew about Robie to open a path in the crowd. Robie headed straight for the gap. The crowd whooped.

Robie glided very slowly down the path, deftly jogging aside whenever he got too close to ankles in skylon or sockassins. The rubber buffer on his hoopskirt was merely an added safeguard.

The boy who had called Robie a turtle jumped in the middle of the path and stood his ground, grinning foxily.

Robie stopped two feet short of him. The turret ducked. The crowd got quiet.

"Hello, youngster," Robie said in a voice that was smooth as that of a TV star, and was, in fact, a recording of one.

The boy stopped smiling. "Hello," he whispered.

"How old are you?" Robie asked.

"Nine. No, eight."

"That's nice," Robie observed. A metal arm shot down from his neck, stopped just short of the boy.

The boy jerked back.

"For you," Robie said.

The boy gingerly took the red polly-lop from the neatly fashioned blunt metal claws, and began to unwrap it.

"Nothing to say?" asked Robie.

"Uh—thank you."

After a suitable pause, Robie continued. "And how about a nice refreshing drink of Poppy Pop to go with your polly-lop?" The boy lifted his eyes, but didn't stop licking the candy. Robie waggled his claws slightly. "Just give me a quarter and within five seconds—"

A little girl wriggled out of the forest of legs. "Give me a polly-lop, too, Robie," she demanded.

"Rita, come back here!" a woman in the third rank of the crowd called angrily.

Robie scanned the newcomer gravely. His reference silhouettes were not good enough to let him distinguish the sex of children, so he merely repeated, "Hello, youngster."

"Rita!"

"Give me a polly-lop!"

Disregarding both remarks, for a good salesman is single-minded and does not waste bait, Robie said winningly, "I'll bet you read Junior Space Killers. Now I have here—"

"Uh-uh, I'm a girl. He got a polly-lop."

At the word "girl," Robie broke off. Rather ponderously, he said, "I'll bet you read Gee-Gee Jones, Space Stripper. Now I have here the latest issue of that thrilling comic, not yet in the stationary vending machines. Just give me fifty cents and within five—"

"Please let me through. I'm her mother."

A young woman in the front rank drawled over her powder-sprayed shoulder, "I'll get her for you," and slithered out on six-inch platform shoes. "Run away, children," she said nonchalantly. Lifting her arms behind her head, she pirouetted slowly before Robie to show how much she did for her bolero half-jacket and her form-fitting slacks that melted into skylon just above the knees. The little girl glared at her. She ended the pirouette in profile.

At this age-level, Robie's reference silhouettes permitted him to distinguish sex, though with occasional amusing and embarrassing miscalls. He whistled admiringly. The crowd cheered.

Someone remarked critically to a friend, "It would go over better if he was built more like a real robot. You know, like a man."

The friend shook his head. "This way it's subtler."

No one in the crowd was watching the newscript overhead as it scribbled, "Ice Pack for Hot Truce? Vanadin hints Russ may yield on Pakistan."

Robie was saying, "... in the savage new glamor-tint we have christened Mars Blood, complete with spray applicator and fit-all fingerstalls that mask each finger completely except for the nail. Just give me five dollars—uncrumpled bills may be fed into the revolving rollers you see beside my arm—and within five seconds—"

"No, thanks, Robie," the young woman yawned.

"Remember," Robie persisted, "for three more weeks, seductivizing Mars Blood will be unobtainable from any other robot or human vendor."

"No, thanks."

Robie scanned the crowd resourcefully. "Is there any gentleman here ..." he began just as a woman elbowed her way through the front rank.

"I told you to come back!" she snapped at the little girl.

"But I didn't get my polly-lop!"

"... who would care to...."

"Rita!"

"Robie cheated. Ow!"

Meanwhile, the young woman in the half bolero had scanned the nearby gentlemen on her own. Deciding that there was less than a fifty per cent chance of any of them accepting the proposition Robie seemed about to make, she took advantage of the scuffle to slither gracefully back into the ranks. Once again the path was clear before Robie.

He paused, however, for a brief recapitulation of the more magical properties of Mars Blood, including a telling phrase about "the passionate claws of a Martian sunrise."

But no one bought. It wasn't quite time. Soon enough silver coins would be clinking, bills going through the rollers faster than laundry, and five hundred people struggling for the privilege of having their money taken away from them by America's first mobile sales robot.

But there were still some tricks that Robie had to do free, and one certainly should enjoy those before starting the more expensive fun.

So Robie moved on until he reached the curb. The variation in level was instantly sensed by his under-scanners. He stopped. His head began to swivel. The crowd watched in eager silence. This was Robie's best trick.

Robie's head stopped swiveling. His scanners had found the traffic light. It was green. Robie edged forward. But then the light turned red. Robie stopped again, still on the curb. The crowd softly ahhed its delight.

It was wonderful to be alive and watching Robie on such an exciting day. Alive and amused in the fresh, weather-controlled air between the lines of bright skyscrapers with their winking windows and under a sky so blue you could almost call it dark.

(But way, way up, where the crowd could not see, the sky was darker still. Purple-dark, with stars showing. And in that purple-dark, a silver-green something, the color of a bud, plunged down at better than three miles a second. The silver-green was a newly developed paint that foiled radar.)

Robie was saying, "While we wait for the light, there's time for you youngsters to enjoy a nice refreshing Poppy Pop. Or for you adults—only those over five feet tall are eligible to buy—to enjoy an exciting Poppy Pop fizz. Just give me a quarter or—in the case of adults, one dollar and a quarter; I'm licensed to dispense intoxicating liquors—and within five seconds...."

But that was not cutting it quite fine enough. Just three seconds later, the silver-green bud bloomed above Manhattan into a globular orange flower. The skyscrapers grew brighter and brighter still, the brightness of the inside of the Sun. The windows winked blossoming white fire-flowers.

The crowd around Robie bloomed, too. Their clothes puffed into petals of flame. Their heads of hair were torches.

The orange flower grew, stem and blossom. The blast came. The winking windows shattered tier by tier, became black holes. The walls bent, rocked, cracked. A stony dandruff flaked from their cornices. The flaming flowers on the sidewalk were all leveled at once. Robie was shoved ten feet. His metal hoopskirt dimpled, regained its shape.

The blast ended. The orange flower, grown vast, vanished overhead on its huge, magic beanstalk. It grew dark and very still. The cornice-dandruff pattered down. A few small fragments rebounded from the metal hoopskirt.

Robie made some small, uncertain movements, as if feeling for broken bones. He was hunting for the traffic light, but it no longer shone either red or green.

He slowly scanned a full circle. There was nothing anywhere to interest his reference silhouettes. Yet whenever he tried to move, his under-scanners warned him of low obstructions. It was very puzzling.

The silence was disturbed by moans and a crackling sound, as faint at first as the scampering of distant rats.

A seared man, his charred clothes fuming where the blast had blown out the fire, rose from the curb. Robie scanned him.

"Good day, sir," Robie said. "Would you care for a smoke? A truly cool smoke? Now I have here a yet-unmarketed brand...."

But the customer had run away, screaming, and Robie never ran after customers, though he could follow them at a medium brisk roll. He worked his way along the curb where the man had sprawled, carefully keeping his distance from the low obstructions, some of which writhed now and then, forcing him to jog. Shortly he reached a fire hydrant. He scanned it. His electronic vision, though it still worked, had been somewhat blurred by the blast.

"Hello, youngster," Robie said. Then, after a long pause, "Cat got your tongue? Well, I have a little present for you. A nice, lovely polly-lop.

"Take it, youngster," he said after another pause. "It's for you. Don't be afraid."

His attention was distracted by other customers, who began to rise up oddly here and there, twisting forms that confused his reference silhouettes and would not stay to be scanned properly. One cried, "Water," but no quarter clinked in Robie's claws when he caught the word and suggested, "How about a nice refreshing drink of Poppy Pop?"

The rat-crackling of the flames had become a jungle muttering. The blind windows began to wink fire again.

A little girl marched, stepping neatly over arms and legs she did not look at. A white dress and the once taller bodies around her had shielded her from the brilliance and the blast. Her eyes were fixed on Robie. In them was the same imperious confidence, though none of the delight, with which she had watched him earlier.

"Help me, Robie," she said. "I want my mother."

"Hello, youngster," Robie said. "What would you like? Comics? Candy?"

"Where is she, Robie? Take me to her."

"Balloons? Would you like to watch me blow up a balloon?"

The little girl began to cry. The sound triggered off another of Robie's novelty circuits, a service feature that had brought in a lot of favorable publicity.

"Is something wrong?" he asked. "Are you in trouble? Are you lost?"

"Yes, Robie. Take me to my mother."

"Stay right here," Robie said reassuringly, "and don't be frightened. I will call a policeman." He whistled shrilly, twice.

Time passed. Robie whistled again. The windows flared and roared. The little girl begged, "Take me away, Robie," and jumped onto a little step in his hoopskirt.

"Give me a dime," Robie said.

The little girl found one in her pocket and put it in his claws.

"Your weight," Robie said, "is fifty-four and one-half pounds."

"Have you seen my daughter, have you seen her?" a woman was crying somewhere. "I left her watching that thing while I stepped inside—Rita!"

"Robie helped me," the little girl began babbling at her. "He knew I was lost. He even called the police, but they didn't come. He weighed me, too. Didn't you, Robie?"

But Robie had gone off to peddle Poppy Pop to the members of a rescue squad which had just come around the corner, more robotlike in their asbestos suits than he in his metal skin.

End of the Project Gutenberg EBook of A Bad Day for Sales, by Fritz Leiber

*** END OF THIS PROJECT GUTENBERG EBOOK A BAD DAY FOR SALES ***

***** This file should be named 50819-h.htm or 50819-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/5/0/8/1/50819/

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


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.org/license).


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

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org/license

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 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

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


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.


Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.