Round-Up Time
Date: 2022-02-25T00:00:00+00:00
Keywords: Science fiction; Short stories; Human-alien encounters -- Fiction; Beggars -- Fiction; Manhattan (New York; N.Y.) -- Fiction

The Project Gutenberg eBook of Round-Up Time

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: Round-Up Time

Author: Chester Cohen

Illustrator: John Giunta

Release date: February 25, 2022 [eBook #67498]
Most recently updated: October 18, 2024

Language: English

Original publication: United States: Royal Publications, Inc, 1956

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

*** START OF THE PROJECT GUTENBERG EBOOK ROUND-UP TIME ***

Round-Up Time

By CHESTER COHEN

Illustrated by GIUNTA

There was madness in Manhattan
when Queerpants came to town!

[Transcriber's Note: This etext was produced from
Infinity Science Fiction, June 1956.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]

My wife don't believe me. That's why she made me come here, and I don't think you're gonna believe me, either, but it's the God's honest truth—and the money's mine.

Hell, I wouldn't never steal. I know there's a lotta fellas in my fix that do, but not me. I always been honest, and always got along okay.

Excuse me, but are you takin' this down just the way I'm tellin' it? Cuz I can't talk so good, ain't had much schoolin', and I want this took down just like I'm tellin' it, cuz it's gonna he hard enough to believe.

Okay, thanks.

The whole thing started yesterday mornin'. I went out early cuz my wife was sick and I wanted to try and get as much as I could by myself, in case there gonna be doctor bills. And it's a lot tougher goin' it alone, counta my wife plays the banjo, and that's a big help.

Well, the subway take on the way up from Brooklyn was pretty poor, so I got off at Columbus Circle and headed for the Park. I figgered, it bein' the Fourth of July holiday, there'd be pretty good pickin's there.

But hell, I never figgered it was gonna be that good!

I had a little trouble gettin' acrost Fifty-ninth Street—you know, where they been doin' all that diggin'?—and I took a bad spill there. My crutches slipped on that damn gravel they got spread all over the place. I don't usu'ly have trouble navigatin' that way, but this mornin' I was still kinda sleepy and wasn't watchin' myself enough.

Yeah, I went right on my ear—that's how I got this cut here. As if I ain't had enough trouble there.

This real nice guy come runnin' over and helps me up. He talked real funny, sorta with his teeth, like. I couldn't make out a thing he said. A furriner, I figgered.

Then when we get to the curb, he takes off like a bat outta hell into the park. That's when I noticed he was dressed kinda funny, too. Like the creases on his pants was on the sides, and his jacket was on backwards, and he didn't have no shoes on. Just some kinda floppy red socks, it looked like, with a lotta yella tassels on 'em.

Must be a character from the Village, I figgered. I seen a lotta queer ducks down there in my time.

Then I forgot about him, cuz I spotted a coupla young kids sittin' on the stone bench near the gate, and they looked like a good touch. So I dusts off my hat and gives 'em a try.

But they was still lookin' pop-eyed towards the park where the funny character went, and didn't give me a tumble atall. So I moved along into the park, and to hell with 'em.

There was only a coupla bums sleepin' on the benches near the gate, and I went on up the grade and around the bend. It was slow goin' uphill, and my leg was hurtin', but when I fin'ly got there, all the benches on both sides of the walk was empty.

I thought, Hell, I'm too early. But I kept on goin', even though my shoulders was startin' to hurt now. I didn't wanna grab a rest till I took in a coupla bucks, at least.

The ground levels off there, and it was easier goin', so I tried to get up a little speed, rememberin' there was a place up ahead where people always sit on the grass and get the sun.

And all the way, the benches was empty and not a soul in sight nowheres. I was thinkin' maybe there was some kinda celebratin' goin' on and I oughta been goin' up towards the Mall. But I knew it was too early for anythin' like that, so I kept on goin'.

And a damn good thing I did. Cuz when I reached that big field—you know, where the road cuts off?—there was a fair-sized crowd standin' around there.

They was all lookin' off towards the middle of the field. But I couldn't make out from where I was what was goin' on, and I didn't care much, anyways, cuz I don't care nothin' 'bout them parades and stuff. So I just started makin' my rounds.

Well, it was the damndest thing I ever seen! All them people started shellin' out soon as I came up to 'em—without even lookin' at me! I thought I was gonna pass out right there, seein' all them green-backs floppin' into my hat.

One guy threw in wallet and all!

Lookin' at these crazy people, I seen they was all talkin'. And they looked like they was talkin' to theirselves, cuz nobody turned a head, just kept starin', all glassy-eyed, like they was doped up.

The old guy that threw in his whole wallet was sayin' somethin' like: "This is the finest performance of scar-laddy I've ever heard. Positively brilliant!" There was a skinny kid standin' next to the old gent, and his lips was movin' fast. "Jeepers!" he was sayin', "real dixieland." And his buddy was standin' there, tappin' his feet and yellin', "Hear that boogie beat! Man! That's Albert Ammons and Pete Johnson at their best!"

A little ways in, a fat guy, standin' on somebody's panama hat, says, "Show-pan! I just love show-pan." His big, flabby lips was slappin' together hard. The big, chesty old lady with him had one o' them little wrinkled-up mouths, and I could hardly make out what she was sayin', cuz her lips didn't hardly move at all when she talked, but it was somethin' like, "Chambah music, my deah. So lovely."

Ev'rybody's mouth was goin'—ev'rybody I looked at was sayin' somethin' about music. And they all looked like they was havin' the time of their life.

And they kept right on shellin' out as I moved along through 'em!

Then I gets to the edge of the crowd, and I spot what they're all starin' at—it's nobody but my old friend, Queerpants, the nice guy that helped me on Fifty-ninth Street when I took that spill!

He's standin' out there in the middle o' the field with his back to the crowd, wavin' his arms around like crazy. Looked just like he was leadin' a band. Queerest thing I ever seen—cuz there ain't nothin' in front o' him, exceptin' trees and grass.

A coupla minutes later, he throws his hands down, like he's stoppin' somethin', and then he turns around towards the crowd and bends over real low.

And the crowd goes nuts. Their mouths are wide open, screamin' and yellin', and they're clappin' their hands like they was at a circus or somethin'.

Queerpants bends over a couple times more, then he swings around again, sorta taps the air in front o' him, stretches his arms up over his head for a second, and then starts slingin' 'em around again.

Right away, everybody shuts their traps and goes to starin' again. They all look like they been cryin'—but happy like.

I'm standin' there, tryin' to figger how maybe it's some kinda gag, and there's maybe a band hidin' back in the trees or somethin' like that, when outta the corner o' my eye I spots this cop comin' towards me.

I ducks back into the crowd real fast and starts stuffin' all the dough into my pockets. Soon's the hat's empty, I takes a peek back through the crowd, and there's the blue-coat, rockin' back on his heels with a big grin spread on his fat face.

This, I hadda see, so I moves over, real quiet like, and his mouth is goin' like sixty. "It's the old Killarney," he's sayin', "Bejasus! Oi've niver heard the like. Me poor old mither should be here now. God bless the man!"

And all the time, the crowd's gettin' bigger and bigger. Cars stop along the road, a couple people ride over on horses, two women with baby carriages pushes in, and a big guy with glasses, carryin' about ten books, drops them on the grass and starts clenchin' his fists.

Now I see Queerpants is takin' a bow again, and ev'rybody's beatin' their hands.

All of a sudden, Queerpants jumps around and takes off towards the woods, hoppin' across the grass like a rabbit, and wavin' his arms around again as he goes.

Lucky I'm on the outside, or I woulda been trampled. It was like somebody yelled "Fire!" in a movie. The whole mob beats it across the grass, knockin' into each other, ev'rybody tryin' to get ahead.

I let 'em go and went back to the sidewalk. I know where that woods lets out; it leads right back to Central Park West, and it's the long way around. I can easy beat 'em by goin' up the sidewalk.

And I do. I'm already waitin' outside when Queerpants comes hoppin' out with the whole mob runnin' after him. Looks like they picked up lots more people on the way, cuz now there's hundreds followin' him.

I damn near chokes when Queerpants jumps the red light. But traffic just stops dead for him, brakes jammin' up and down the street for about a mile.

He's headin' straight crosstown towards the river, it looks like, and I'm thinkin', damn, this I gotta see. But I can't figger no way to catch up with 'em.

Then I see the traffic on the other side of the street is startin' to turn right in after the tail-end o' the mob. And the same thing starts on my side, ev'rybody tryin' to go down that side street at the same time. And ev'rybody punchin' their horns like crazy.

About four cars down from where I'm standin', there's a taxi in the line. So, neat as you please, I goes down, opens his door and climbs in.

The cabby don't even see me. In his mirror, I can see his face is red as a beet, and he's yellin' and cussin' and beatin' on his hornbutton.

Well, I pulls the door shut and make myself comfy. Then, all of a sudden, we start movin'. As we cut around the corner, I see how we got our break—there's two cars locked bumpers in the other lane, holdin' up the whole line.

Now we're goin' straight crosstown at a pretty good clip. At Amsterdam, we swing uptown, up a big hill, and when we get to the top, I can see the crowd still racing along like mad.

Way uptown, somewhere near a Hundred and Twenty-fifth, we turn west, run down under the Express Highway, and end up in front of a beat-up old dock.

There's hundreds of cars parked all over the place with their doors open and their engines runnin', and ev'rybody's racin' toward the river.

My driver was out before the cab hardly stopped. It took me a little while to get out. Then I had to be real careful navigatin' that old wharf. It was full of holes and big cracks and piles of junk lyin' around.

Slow goin'. I was pretty beat by the time I reached the mob near the end o' the wharf.

They was two long lines of 'em, movin' along slow. Up ahead, they was all goin' up a big red ramp that went up into the air off the dock and into a great big thing that was hangin' in the air over the river. The thing looked like a big banana made outta glass.

When I got nearer, I could see right into the thing.

Inside it, there was a lotta little stalls, and people was all crowdin' into 'em, about four or five to a stall. As soon as they got in, a kinda door dropped down and I couldn't see no way that they could get out.

But it didn't look like anybody was tryin' to get out.

There was a big round table in each stall, with a lotta food on 'em, and the people was standin' around just eatin' like pigs in a sty.

All the time I was watchin', people kept pilin' into the thing, lookin' like they was singin' their heads off. Some was clappin' their hands and throwin' their arms around, like they was doin' some kinda dance.

For about an hour, people kept marchin' up that ramp, until fin'ly the end of the line came, and they all got in—exceptin' the last one. A real skinny old man with a cane.

Just as he got up to the top of the ramp, the hole in the side of the banana closed up, quick as a wink.

All of a sudden, the thing starts to go straight up into the air, leavin' the old man standin' there at the edge of the ramp, wavin' his cane.

Next thing the old man goes over the edge and drops into the river.

The banana-lookin' thing keeps goin' up into the air, goin' faster and faster, and shinin' like a mirror. Smaller and smaller it gets, and then—bop—it's gone.

Goin' back to the street, I was feelin' sick. It was like ev'rybody in the world was crazy except me. I felt lonesome.

And all those cars, parked ev'ry which-way, with their doors open and their motors runnin'—it was real scary.

Well, I got outta there as fast as I could go and took the subway home. And my wife wouldn't believe me when she seen all that dough.

But it's the truth, and I figger the only reason they didn't get me, whoever they was, is because I'm stone-deaf and couldn't hear that guy's funny music.

Do I get to keep the money, Yer Honor?

*** END OF THE PROJECT GUTENBERG EBOOK ROUND-UP TIME ***

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.

Table of Contents

- Round-Up Time

- THE FULL PROJECT GUTENBERG LICENSE