Stickeen — Part 3

Beginning, not immediately above the sunken end of the bridge, but a little to one side, I cut a deep hollow on the brink for my knees to rest in.

Then, leaning over, with my short-handled axe I cut a step sixteen or eighteen inches below, which on account of the sheerness of the wall was necessarily shallow.

That step, however, was well made;

its floor sloped slightly inward and formed a good hold for my heels.

Then, slipping cautiously upon it, and crouching as low as possible, with my left side toward the wall, I steadied myself against the wind with my left hand in a slight notch, while with the right I cut other similar steps and notches in succession, guarding against losing balance by glinting of the axe, or by wind-gusts, for life and death were in every stroke and in the niceness of finish of every foothold.

After the end of the bridge was reached I chipped it down until I had made a level platform six or eight inches wide, and it was a trying thing to poise on this little slippery platform while bending over to get safely astride of the sliver.

Crossing was then comparatively easy by chipping off the sharp edge with short, careful strokes, and hitching forward an inch or two at a time, keeping my balance with my knees pressed against the sides.

The tremendous abyss on either hand I studiously ignored.

To me the edge of that blue sliver was then all the world.

But the most trying part of the adventure, after working my way across inch by inch and chipping another small platform, was to rise from the safe position astride and to cut a step-ladder in the nearly vertical face of the wall,—chipping, climbing, holding on with feet and fingers in mere notches.

At such times one’s whole body is eye, and common skill and fortitude are replaced by power beyond our call or knowledge.

Never before had I been so long under deadly strain.

How I got up that cliff I never could tell.

The thing seemed to have been done by somebody else.

I never have held death in contempt, though in the course of my explorations I have oftentimes felt that to meet one’s fate on a noble mountain, or in the heart of a glacier, would be blessed as compared with death from disease, or from some shabby lowland accident.

But the best death, quick and crystal-pure, set so glaringly open before us, is hard enough to face, even though we feel gratefully sure that we have already had happiness enough for a dozen lives.

But poor Stickeen, the wee, hairy, sleekit beastie, think of him!

When I had decided to dare the bridge, and while I was on my knees chipping a hollow on the rounded brow above it, he came behind me, pushed his head past my shoulder, looked down and across, scanned the sliver and its approaches with his mysterious eyes, then looked me in the face with a startled air of surprise and concern, and began to mutter and whine; saying as plainly as if speaking with words, “Surely, you are not going into that awful place.

” This was the first time I had seen him gaze deliberately into a crevasse, or into my face with an eager, speaking, troubled look.

That he should have recognized and appreciated the danger at the first glance showed wonderful sagacity.

Never before had the daring midget seemed to know that ice was slippery or that there was any such thing as danger anywhere.

His looks and tones of voice when he began to complain and speak his fears were so human that I unconsciously talked to him in sympathy as I would to a frightened boy, and in trying to calm his fears perhaps in some measure moderated my own.

“Hush your fears, my boy,” I said, “we will get across safe, though it is not going to be easy.

No right way is easy in this rough world.

We must risk our lives to save them.

At the worst we can only slip, and then how grand a grave we will have, and by and by our nice bones will do good in the terminal moraine.

” But my sermon was far from reassuring him: he began to cry, and after taking another piercing look at the tremendous gulf, ran away in desperate excitement, seeking some other crossing.

By the time he got back, baffled of course, I had made a step or two.

I dared not look back, but he made himself heard; and when he saw that I was certainly bent on crossing he cried aloud in despair.

The danger was enough to daunt anybody, but it seems wonderful that he should have been able to weigh and appreciate it so justly.

No mountaineer could have seen it more quickly or judged it more wisely, discriminating between real and apparent peril.

When I gained the other side, he screamed louder than ever, and after running back and forth in vain search for a way of escape, he would return to the brink of the crevasse above the bridge, moaning and wailing as if in the bitterness of death.

Could this be the silent, philosophic Stickeen?

I shouted encouragement, telling him the bridge was not so bad as it looked, that I had left it flat and safe for his feet, and he could walk it easily.

But he was afraid to try.

Strange so small an animal should be capable of such big, wise fears.

I called again and again in a reassuring tone to come on and fear nothing; that he could come if he would only try.

He would hush for a moment, look down again at the bridge, and shout his unshakable conviction that he could never, never come that way; then lie back in despair, as if howling, “O-o-oh!

what a place!

No-o-o, I can never go-o-o down there!

” His natural composure and courage had vanished utterly in a tumultuous storm of fear.

Had the danger been less, his distress would have seemed ridiculous.

But in this dismal, merciless abyss lay the shadow of death, and his heartrending cries might well have called Heaven to his help.

Perhaps they did.

So hidden before, he was now transparent, and one could see the workings of his heart and mind like the movements of a clock out of its case.

His voice and gestures, hopes and fears, were so perfectly human that none could mistake them; while he seemed to understand every word of mine.

I was troubled at the thought of having to leave him out all night, and of the danger of not finding him in the morning.

It seemed impossible to get him to venture.

To compel him to try through fear of being abandoned, I started off as if leaving him to his fate, and disappeared back of a hummock; but this did no good; he only lay down and moaned in utter hopeless misery.

So, after hiding a few minutes, I went back to the brink of the crevasse and in a severe tone of voice shouted across to him that now I must certainly leave him, I could wait no longer, and that, if he would not come, all I could promise was that I would return to seek him next day.

I warned him that if he went back to the woods the wolves would kill him, and finished by urging him once more by words and gestures to come on, come on.

He knew very well what I meant, and at last, with the courage of despair, hushed and breathless, he crouched down on the brink in the hollow I had made for my knees, pressed his body against the ice as if trying to get the advantage of the friction of every hair, gazed into the first step, put his little feet together and slid them slowly, slowly over the edge and down into it, bunching all four in it and almost standing on his head.

Then, without lifting his feet, as well as I could see through the snow, he slowly worked them over the edge of the step and down into the next and the next in succession in the same way, and gained the end of the bridge.

Then, lifting his feet with the regularity and slowness of the vibrations of a seconds pendulum, as if counting and measuring one-two-three, holding himself steady against the gusty wind, and giving separate attention to each little step, he gained the foot of the cliff, while I was on my knees leaning over to give him a lift should he succeed in getting within reach of my arm.

Here he halted in dead silence, and it was here I feared he might fail, for dogs are poor climbers.

I had no cord.

If I had had one, I would have dropped a noose over his head and hauled him up.

But while I was thinking whether an available cord might be made out of clothing, he was looking keenly into the series of notched steps and finger-holds I had made, as if counting them, and fixing the position of each one of them in his mind.

Then suddenly up he came in a springy rush, hooking his paws into the steps and notches so quickly that I could not see how it was done, and whizzed past my head, safe at last!

And now came a scene!

“Well done, well done, little boy!

Brave boy!

” I cried, trying to catch and caress him; but he would not be caught.

Never before or since have I seen anything like so passionate a revulsion from the depths of despair to exultant, triumphant, uncontrollable joy.

He flashed and darted hither and thither as if fairly demented, screaming and shouting, swirling round and round in giddy loops and circles like a leaf in a whirlwind, lying down, and rolling over and over, sidewise and heels over head, and pouring forth a tumultuous flood of hysterical cries and sobs and gasping mutterings.

When I ran up to him to shake him, fearing he might die of joy, he flashed off two or three hundred yards, his feet in a mist of motion;

then, turning suddenly, came back in a wild rush and launched himself at my face, almost knocking me down, all the time screeching and screaming and shouting as if saying, “Saved!

saved!

saved!

” Then away again, dropping suddenly at times with his feet in the air, trembling and fairly sobbing.

Such passionate emotion was enough to kill him.

Moses’ stately song of triumph after escaping the Egyptians and the Red Sea was nothing to it.

Who could have guessed the capacity of the dull, enduring little fellow for all that most stirs this mortal frame?

Nobody could have helped crying with him!

But there is nothing like work for toning down excessive fear or joy.

So I ran ahead, calling him in as gruff a voice as I could command to come on and stop his nonsense, for we had far to go and it would soon be dark.

Neither of us feared another trial like this.

Heaven would surely count one enough for a lifetime.

The ice ahead was gashed by thousands of crevasses, but they were common ones.

The joy of deliverance burned in us like fire, and we ran without fatigue, every muscle with immense rebound glorying in its strength.

Stickeen flew across everything in his way, and not till dark did he settle into his normal fox-like trot.

At last the cloudy mountains came in sight, and we soon felt the solid rock beneath our feet, and were safe.

Then came weakness.

Danger had vanished, and so had our strength.

We tottered down the lateral moraine in the dark, over boulders and tree trunks, through the bushes and devil-club thickets of the grove where we had sheltered ourselves in the morning, and across the level mud-slope of the terminal moraine.

We reached camp about ten o’clock, and found a big fire and a big supper.

A party of Hoona Indians had visited Mr. Young, bringing a gift of porpoise meat and wild strawberries, and Hunter Joe had brought in a wild goat.

But we lay down, too tired to eat much, and soon fell into a troubled sleep.

The man who said, “The harder the toil, the sweeter the rest,” never was profoundly tired.

Stickeen kept springing up and muttering in his sleep, no doubt dreaming that he was still on the brink of the crevasse; and so did I, that night and many others long afterward, when I was overtired.

Thereafter Stickeen was a changed dog.

During the rest of the trip, instead of holding aloof, he always lay by my side, tried to keep me constantly in sight, and would hardly accept a morsel of food, however tempting, from any hand but mine.

At night, when all was quiet about the camp-fire, he would come to me and rest his head on my knee with a look of devotion as if I were his god.

And often as he caught my eye he seemed to be trying to say, “Wasn’t that an awful time we had together on the glacier?

” Nothing in after years has dimmed that Alaska storm-day.

As I write it all comes rushing and roaring to mind as if I were again in the heart of it.

Again I see the gray flying clouds with their rain-floods and snow, the ice-cliffs towering above the shrinking forest, the majestic ice-cascade, the vast glacier outspread before its white mountain fountains, and in the heart of it the tremendous crevasse,—emblem of the valley of the shadow of death,—low clouds trailing over it, the snow falling into it; and on its brink I see little Stickeen, and I hear his cries for help and his shouts of joy.

I have known many dogs, and many a story I could tell of their wisdom and devotion; but to none do I owe so much as to Stickeen.

At first the least promising and least known of my dog-friends, he suddenly became the best known of them all.

Our storm-battle for life brought him to light, and through him as through a window I have ever since been looking with deeper sympathy into all my fellow mortals.

None of Stickeen’s friends knows what finally became of him.

After my work for the season was done I departed for California, and I never saw the dear little fellow again.

In reply to anxious inquiries his master wrote me that in the summer of 1883 he was stolen by a tourist at Fort Wrangel and taken away on a steamer.

His fate is wrapped in mystery.

Doubtless he has left this world—crossed the last crevasse—and gone to another.

But he will not be forgotten.

To me Stickeen is immortal.

*** END OF THE PROJECT GUTENBERG EBOOK STICKEEN ***

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 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. 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 ( to ,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.