Trail of the Hawk: a Comedy of the Seriousness of Life — 42 - Part III The Adventure of Love Ch 42

CHAPTER XLII

Dizzy with all the problems of life, he did not notice where he went.

He walked blocks; took a trolley-car; got off to buy a strong cigar;

took the next trolley that came along; was carried across the Fifty-ninth Street bridge to Long Island.

At the eighth or tenth stop he hurried out of the car just as it was starting again.

He wondered why he had been such a fool as to leave it in a dark street of flat-faced wooden houses with dooryards of trampled earth and a general air of poverty, goats, and lunch-pails.

He tramped on, a sullen and youthless man.

Presently he was in shaggy, open country.

He was frightened by his desertion of Ruth, but he did not want to go back, nor even telephone to her.

He had to diagram where and what and why he was; determine what he was to do.

He disregarded the war as a cause of trouble.

Had there been no extra business-pressure caused by the war, there would have been some other focus for their misunderstandings.

They would have quarreled over clothes and aviation, Aunt Emma and Martin Dockerill, poverty and dancing, quite the same.

Walking steadily, with long periods when he did not think, but stared at the dusty stars or the shaky, ill-lighted old houses, he alined her every fault, unhappily rehearsed every quarrel in which she had been to blame, his lips moving as he emphasized the righteous retorts he was almost certain he had made.

It was not hard to find faults in her.

Any two people who have spent more than two days together already have the material for a life-long feud, in traits which at first were amusing or admirable.

Ruth's pretty manners, of which Carl had been proud, he now cited as snobbish affectation.

He did not spare his reverence, his passion, his fondness.

He mutilated his soul like a hermit.

He recalled her pleasure in giving him jolly surprises, in writing unexpected notes addressed to him at the office, as fussy discontent with a quiet, normal life; he regarded her excitement over dances as evidence that she was so dependent on country-club society that he would have to spend the rest of his life drudging for her.

He wanted to flee.

He saw the whole world as a conspiracy of secret, sinister powers that are concealed from the child, but to the man are gradually revealed by a pitiless and never-ending succession of misfortunes.

He would never be foot-loose again.

His land of heart's desire would be the office.

But the ache of disappointment grew dull.

He was stunned.

He did not know what had happened; did not even know precisely how he came to be walking here.

Now and then he remembered anew that he had sharply left Ruth--Ruth, his dear girl!

--remembered that she was not at hand, ready to explain with love's lips the somber puzzles of life.

He was frightened again, and beginning to be angry with himself for having been angry with Ruth.

He had walked many miles.

Brown fields came up at him through the paling darkness.

A sign-board showed that he was a few miles from Mineola.

Letting the coming dawn uplift him, he tramped into Mineola, with a half-plan of going on to the near-by Hempstead Plains Aviation Field, to see if there was any early-morning flying.

It would be bully to see a machine again!

At a lunch-wagon he ordered buckwheat-cakes and coffee.

Sitting on a high stool before a seven-inch shelf attached to the wall, facing an array of salt-castors and catsup-bottles and one of those colored glass windows with a portrait of Washington which give to all lunch-wagons their air of sober refinement, Carl ate solemnly, meditatively....

It did not seem to him an ignoble setting for his grief; but he was depressed when he came out to a drab first light of day that made the street seem hopeless and unrested after the night.

The shops were becoming visible, gray and chilly, like a just-awakened janitor in slippers, suspenders, and tousled hair.

The pavement was wet.

Carl crossed the street, stared at the fly-specked cover of a magazine six months old that lay in a shop window lighted by one incandescent.

He gloomily planned to go back and have another cup of coffee on the shelf before Washington's glassy but benign face.

But he looked down the street, and all the sky was becoming a delicate and luminous blue.

He trotted off toward Hempstead Plains.

The Aviation Field was almost abandoned.

Most of the ambitious line of hangars were empty, now, with faded grass thick before the great doors that no one ever opened.

A recent fire had destroyed a group of five hangars.

He found one door open, and three sleepy youngsters in sweaters and khaki trousers bringing out a monoplane.

Carl watched them start, bobbed his chin to the music of the motor, saw the machine canter down the field and ascend from dawn to the glory of day.

The rising sun picked out the lines of the uninclosed framework and hovered on the silvery wing-surface.

The machine circled the field at two hundred feet elevation, smoothly, peacefully.

And peace beyond understanding came to Carl.

He studied the flight.

"Mm.

Good and steady.

Banks a little sharp, but very thorough.

Firs' rate.

I believe I could get more speed out of her if I were flying.

Like to try."

Wonderingly he realized that he did not want to fly; that only his lips said, "Like to try."

He was almost as much an outsider to aviation as though he had never flown.

He discovered that he was telling Ruth this fact, in an imaginary conversation; was commenting for her on dawn-sky and the plains before him and his alienation from exploits in which she could not share.

The monoplane landed with a clean volplane.

The aviator and his mechanicians were wheeling it toward the hangar.

They glanced at him uninterestedly.

Carl understood that, to them, he was a Typical Bystander, here where he had once starred.

The aviator stared again, let go the machine, walked over, exclaiming: "Say, aren't you Hawk Ericson?

This is an honor.

I heard you were somewhere in New York.

Just missed you at the Aero Club one night.

Wanted to ask you about the Bagby hydro.

Won't you come in and have some coffee and sinkers with us?

Proud to have you.

My name 's Berry."

"Thanks.

Be glad to."

While the youngsters were admiring him, hearing of the giants of earlier days, while they were drinking inspiration from this veteran of twenty-nine, they were in turn inspiring Carl by their faith in him.

He had been humble.

They made him trust himself, not egotistically, but with a feeling that he did matter, that it was worth while to be in tune with life.

Yet all the while he knew that he wanted to be by himself, because he could thus be with the spirit of Ruth.

And he knew, subconsciously, that he was going to hurry back to Mineola and telephone to her.

As he dog-trotted down the road, he noted the old Dutch houses for her; picked out the spot where he had once had a canvas hangar, and fancied himself telling her of those days.

He did not remember that at this hangar he had known Istra, Istra Nash, the artist, whose name he scarce recalled.

Istra was an incident; Ruth was the meaning of his life.

And the solution of his problem came, all at once, when suddenly it was given to him to understand what that problem was.

Ruth and he had to be up and away, immediately; go any place, do anything, so long as they followed new trails, and followed them together.

He knew positively, after his lonely night, that he could not be happy without her as comrade in the freedom he craved.

And he also knew that they had not done the one thing for which their marriage existed.

They were not just a man and a woman.

They were a man and a woman who had promised to find new horizons for each other.

However much he believed in the sanctity of love's children, Carl also believed that merely to be married and breed casual children and die is a sort of suspended energy which has no conceivable place in this over-complex and unwieldy world.

He had no clear nor ringing message, but he did have, just then, an overpowering conviction that Ruth and he--not every one, but Ruth and he, at least--had a vocation in keeping clear of vocations, and that they must fulfil it.

Over the telephone he said: "Ruth dear, I'll be right there.

Walked all night.

Got straightened out now.

I'm out at Mineola.

It's all right with me now, blessed.

I want so frightfully much to make it all right with you.

I'll be there in about an hour."

She answered "Yes" so non-committally that he was smitten by the fact that he had yet to win forgiveness for his frenzy in leaving her; that he must break the shell of resentment which would incase her after a whole night's brooding between sullen walls.

On the train, unconscious of its uproar, he was bespelled by his new love.

During a few moments of their lives, ordinary real people, people real as a tooth-brush, do actually transcend the coarsely physical aspects of sex and feeding, and do approximate to the unwavering glow of romantic heroes.

Carl was no more a romantic hero-lover than, as a celebrated aviator, he had been a hero-adventurer.

He was a human being.

He was not even admirable, except as all people are admirable, from the ash-man to the king.

There had been nothing exemplary in his struggle to find adjustment with his wife; he had been bad in his impatience just as he had been good in his boyish affection; in both he had been human.

Even now, when without reserve he gave himself up to love, he was aware that he would ascend, not on godlike pinions, but by a jerky old apartment-house elevator, to make peace with a vexed girl who was also a human being, with a digestive system and prejudices.

Yet with a joy that encompassed all the beauty of banners and saluting swords, romantic towers and a fugitive queen, a joy transcending trains and elevators and prejudices, Carl knew that human girl as the symbol of man's yearning for union with the divine; he desired happiness for her with a devotion great as the passion in Galahad's heart when all night he knelt before the high altar.

He came slowly up to their apartment-house.

If it were only possible for Ruth to trust him, now---- Mingled with his painfully clear remembrance of all the sweet things Ruth was and had done was a tragic astonishment that he--this same he who was all hers now--could possibly have turned impatiently from her sobs.

Yet it would have been for good, if only she would trust him.

Not till he left the elevator, on their floor, did he comprehend that Ruth might not be awaiting him; might have gone.

He looked irresolutely at the grill of the elevator door, shut on the black shaft.

"She was here when I telephoned----" He waited.

Perhaps she would peep out to see if it was he who had come up in the elevator.

She did not appear.

He walked the endless distance of ten feet to their door, unlocked it, labored across the tiny hall into the living-room.

She was there.

She stood supporting herself by the back of the davenport, her eyes red-edged and doubtful, her face tightened, expressing enmity or dread or shy longing.

He held out his hands, like a prisoner beseeching royal mercy.

She in turn threw out her arms.

He could not say one word.

The clumsy signs called "words" could not tell his emotion.

He ran to her, and she welcomed his arms.

He held her, abandoned himself utterly to her kiss.

His hard-driving mind relaxed; relaxed was her body in his arms.

He knew, not merely with his mind, but with the vaster powers that drive mind and emotion and body, that Ruth, in her disheveled dressing-gown, was the glorious lover to whom he had been hastening this hour past.

All the love which civilization had tried to turn into Normal Married Life had escaped Efficiency's pruning-hook, and had flowered.

"It's all right with me, now," she said; "so wonderfully all right."

"I want to explain.

Had to be by myself; find out.

Must have seemed so unspeakably r----" "Oh, don't, don't explain!

Our kiss explained."

* * * * * While they talked on the davenport together, reaching out again and again for the hands that now really were there, Ruth agreed with Carl that they must be up and away, not wait till it should be too late.

She, too, saw how many lovers plan under the June honeymoon to sail away after a year or two and see the great world, and, when they wearily die, know that it will still be a year or two before they can flee to the halcyon isles.

But she did insist that they plan practically; and it was she who wondered: "But what would happen if everybody went skipping off like us?

Who'd bear the children and keep the fields plowed to feed the ones that ran away?"

"Golly!"

cried Carl, "wish that were the worst problem we had!

Maybe a thousand years from now, when every one is so artistic that they want to write books, it will be hard to get enough drudges.

But now---- Look at any office, with the clerks toiling day after day, even the unmarried ones.

Look at all the young fathers of families, giving up everything they want to do, to support children who'll do the same thing right over again with _their_ children.

Always handing on the torch of life, but never getting any light from it.

People don't run away from slavery often enough.

And so they don't ever get to do real work, either!"

"But, sweetheart, what if we should have children some day?

You know---- Of course, we haven't been ready for them yet, but some day they might come, anyhow, and how could we wander round----" "Oh, probably they will come some day, and then we'll take our dose of drudgery like the rest.

There's nothing that our dear civilization punishes as it does begetting children.

For poisoning food by adulterating it you may get fined fifty dollars, but if you have children they call it a miracle--as it is--and then they get busy and condemn you to a lifetime of being scared by the boss."

"Well, darling, please don't blame it on me."

"I didn't mean to get so oratorical, blessed.

But it does make me mad the way the state punishes one for being willing to work and have children.

Perhaps if enough of us run away from nice normal grinding, we'll start people wondering just why they should go on toiling to produce a lot of booze and clothes and things that nobody needs."

"Perhaps, my Hawk....

Don't you think, though, that we might be bored in your Rocky Mountain cabin, if we were there for months and months?"

"Yes, I suppose so," Carl mused.

"The rebellion against stuffy marriage has to be a whole lot wider than some little detail like changing from city to country.

Probably for some people the happiest thing 'd be to live in a hobohemian flat and have parties, and for some to live in the suburbs and get the missus elected president of the Village Improvement Society.

For us, I believe, it's change and _keep going_."

"Yes, I do think so.

Hawk, my Hawk, I lay awake nearly all night last night, realizing that we _are_ one, not because of a wedding ceremony, but because we can understand each other's make-b'lieves and seriousnesses.

I knew that no matter what happened, we had to try again....

I saw last night, by myself, that it was not a question of finding out whose fault a quarrel was; that it wasn't anybody's 'fault,' but just conditions....

And we'll change them....

We won't be afraid to be free."

"We won't!

Lord!

life's wonderful!"

"Yes!

When I think of how sweet life can be--so wonderfully sweet--I know that all the prophets must love human beings, oh, so terribly, no matter how sad they are about the petty things that lives are wasted over....

But I'm not a prophet.

I'm a girl that's awfully much in love, and, darling, I want you to hold me close."

* * * * * Three months later, in February, 1915, Ruth and Carl sailed for Buenos Ayres, America's new export-market.

Carl was the Argentine Republic manager for the VanZile Motor Corporation, possessed of an unimportant salary, a possibility of large commissions, and hopes like comets.

Their happiness seemed a thing enchanted.

They had not quarreled again.

* * * * * The S. S.

_Sangrael_, for Buenos Ayres and Rio, had sailed from snow into summer.

Ruth and Carl watched isles of palms turn to fantasies carved of ebony, in the rose and garnet sunset waters, and the vast sky laugh out in stars.

Carl was quoting Kipling: "The Lord knows what we may find, dear lass, And the deuce knows what we may do-- But we're back once more on the old trail, our own trail, the out trail, We're down, hull down on the Old Trail--the trail that is always new."

"Anyway," he commented, "deuce only knows what we'll do after Argentine, and I don't care.

Do you?"

Her clasping hand answered, as he went on: "Oh, say, bles-sed!

I forgot to look in the directory before we left New York to see if there wasn't a Society for the Spread of Madness among the Respectable.

It might have sent us out as missionaries....

There's a flying-fish; and to-morrow I won't have to watch clerks punch a time-clock; and you can hear a sailor shifting the ventilators; and there's a little star perched on the fore-mast;

singing; but the big thing is that you're here beside me, and we're _going_.

How bully it is to be living, if you don't have to give up living in order to make a living."

THE END

*** END OF THE PROJECT GUTENBERG EBOOK THE TRAIL OF THE HAWK: A COMEDY OF THE SERIOUSNESS OF LIFE *** 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.