Courage of the Commonplace — 4 - Section 4

It has come to be an institution that after the game the old graduates should go, class by class, to the house of the president of Yale, to renew allegiance.

It has come to be an institution that he, standing on the steps of his house, should make a short speech to each class.

The rainbow of men, sweeping gloriously down the city streets with their bands, dissolves into a whirlwind at the sight of that well-known, slight, dignified figure on the doorstep of the modest house--this is a thing which one who has seen it does not forget; the three-minute speeches, each apt to its audience, each pointed with a dart straight to the heart of class pride and sentiment, these are a marvel.

Few men living could come out of a such a test creditably; only this master of men and of boys could do it as he does.

For each class goes away confident that the president at least shares its conviction that it is the best class ever graduated.

Life might well be worth living, it would seem, to a man who should hear every year hundreds of men's voices thundering his name as these men behind the class banners.

Six weeks after the disaster of the Oriel mine it was commencement day in New Haven and Johnny McLean, his broken arm in a sling, a square of adhesive plaster on his forehead, was back for his Triennial.

He was mightily astonished at the greeting he got.

Classmates came up to him and shook his hand and said half a sentence and stopped, with an arm around his shoulder; people treated him in a remarkable way, as if he had done something unheard of.

It gratified him, after a fashion, yet it more than half annoyed him.

He mentioned over and over again in protest that he had done nothing which "every one of you fellows wouldn't have done just the same," but they laughed at that and stood staring in a most embarrassing way.

"Gosh, Johnny McLean," Tim Erwin remarked finally, "wake up and hear the birdies sing.

Do you mean to tell me you don't know you're the hero of the whole blamed nation?"

And Johnny McLean turned scarlet and replied that he didn't think it so particularly funny to guy a man who had attended strictly to his business, and walked off.

While Erwin and the others regarded him astounded.

"Well, if that isn't too much!"

gasped Tim.

"He actually doesn't know!"

"He's likely to find out before we get through," Neddy Haines, of Denver, jerked out nasally and they laughed as if at a secret known together.

So Johnny pursued his way through the two or three days before commencement, absorbed in meeting friends, embarrassed at times by their manner, but taking obstinately the modest place in the class which he had filled in college.

It did not enter his mind that anything he had done could alter his standing with the "fellows."

Moreover, he did not spend time considering that.

So he was one of two hundred Buster Browns who marched to Yale Field in white Russian blouses with shiny blue belts, in sailor hats with blue ribbons, and when the Triennials rushed tempestuously down Trumbull Street in the tracks of the gray-beards of thirty-five years before, Johnny found himself carried forward so that he stood close to the iron fence which guards the little yard from the street.

There is always an afternoon tea at the president's house after the game, to let people see the classes make their call on the head of the University.

The house was full of people;

the yard was filled with gay dresses and men gathered to see the parade.

On the high stone steps under the arch of the doorway stood the president and close by him the white, light figure of a little girl, her black hair tied with a big blue bow.

Clustered in the shadow behind them were other figures.

Johnny McLean saw the little maid and then his gaze was riveted on the president.

It surely was good to see him again; this man who knew how to make them all swear by him.

"What will he have to say to us," Johnny wondered.

"Something that will please the whole bunch, I'll bet.

He always hits it."

"Men of the class of --," the president began, in his deep, characteristic intonations, "I know that there is only one name you want to hear me speak; only one thought in all the minds of your class."

A hoarse murmur which a second's growth would have made into a wild shout started in the throats of the massed men behind the class banner.

The president held up his hand.

"Wait a minute.

We want that cheer; we'll have it; but I've got a word first.

A great speaker who talked to you boys in your college course said a thing that came to my mind to-day.

'The courage of the commonplace,' he said, 'is greater than the courage of the crisis.'

" Again that throaty, threatening growl, and again the president's hand went up--the boys were hard to hold.

"I see a man among you whose life has added a line to that saying, who has shown to the world that it is the courage of the commonplace which trains for the courage of the crisis.

And that's all I've got to say, for the nation is saying the rest--except three times three for the glory of the class of --, the newest name on the honor roll of Yale, McLean of the Oriel mine."

It is probably a dizzying thing to be snatched into the seventh heaven.

Johnny McLean standing, scarlet, stunned, his eyes glued on the iron fence between him and the president, knew nothing except a whirling of his brain and an earnest prayer that he might not make a fool of himself.

With that, even as the thunder of voices began, he felt himself lifted, swung to men's shoulders, carried forward.

And there he sat in his foolish Buster Brown costume, with his broken arm in its sling, with the white patch on his forehead, above his roaring classmates.

There he sat perspiring and ashamed, and faced the head of the University, who, it must be said, appeared not to miss the humor of the situation, for he laughed consumedly.

And still they cheered and still his name rang again and again.

Johnny, hot and squirming under the merry presidential eye, wondered if they were going to cheer all night.

And suddenly everything--class-mates, president, roaring voices--died away.

There was just one thing on earth.

In the doorway, in the group behind the president, a girl stood with her head against the wall and cried as if her heart would break.

Cried frankly, openly, mopping away tears with a whole-hearted pocket-handkerchief, and cried more to mop away.

As if there were no afternoon tea, no mob of Yale men in the streets, no world full of people who might, if they pleased, see those tears and understand.

The girl.

Herself.

Crying.

In a flash, by the light of the happiness that was overwhelming, he found this other happiness.

He understood.

The mad idea which had come back and back to him out there in the West, which he had put down firmly, the idea that she had cared too much and not too little on that Tap Day four years ago--that idea was true.

She did care.

She cared still.

He knew it without a doubt.

He sat on the men's shoulders in his ridiculous clothes, and the heavens opened.

Then the tumult and the shouting died and they let the hero down, and to the rapid succession of strong emotions came as a relief another emotion--enthusiasm.

They were cheering the president, on the point of bursting themselves into fragments to do it, it seemed.

There were two hundred men behind the class banner, and each one was converting what was convertible of his being into noise.

Johnny McLean turned to with a will and thundered into the volume of tone which sounded over and over the two short syllables of a name which to a Yale man's idea fits a cheer better than most.

The president stood quiet, under the heaped-up honors of a brilliant career, smiling and steady under that delirious music of his own name rising, winged with men's hearts, to the skies.

Then the band was playing again and they were marching off down the street together, this wonderful class that knew how to turn earth into heaven for a fellow who hadn't done much of a stunt anyhow, this grand, glorious, big-hearted lot of chaps who would have done much more in his place, every soul of them--so Johnny McLean's thoughts leaped in time with his steps as they marched away.

And once or twice a terror seized him--for he was weak yet from his illness--that he was going to make "a fool of himself."

He remembered how the girl had cried; he thought of the way the boys had loaded him with honor and affection; he heard the president's voice speaking those impossible words about him--about him--and he would have given a large sum of money at one or two junctures to bolt and get behind a locked door alone where he might cry as the girl had.

But the unsentimental hilarity all around saved him and brought him through without a stain on his behavior.

Only he could not bolt--he could not get a moment to himself for love or money.

It was for love he wanted it.

He must find her--he could not wait now.

But he had to wait.

He had to go into the country to dinner with them all and be lionized and made speeches at, and made fun of, and treated as the darling child and the pride and joy and--what was harder to bear--as the hero and the great man of the class.

All the time growing madder with restlessness, for who could tell if she might not be leaving town!

A remnant of the class ahead crossed them--and there was Brant, her brother.

Diplomacy was not for Johnny McLean--he was much too anxious.

"Brant, look here," and he drew him into a comparative corner.

"Where is she?"

Brant did not pretend not to understand, but he grinned.

"At the Andersons', of course."

"Now?"

"Yes, I think so."

"Fellows," said Johnny McLean, "I'm sorry, but I've got to sneak.

I'm going back to town."

Sentences and scraps of sentences came flying at him from all over.

"Hold him down"--"Chain him up"--"Going--tommy-rot--can't go!"

"You'll be game for the roundup at eleven--you've got to be."

"Our darling boy--he's got to be," and more language.

"All right for eleven," Johnny agreed.

"I'll be at head-quarters then--but I'm going now," and he went.

He found her in a garden, which is the best place to make love.

Each place is the best.

And in some mystical manner all the doubt and unhappiness which had been gone over in labored volumes of thoughts by each alone, melted to nothing, at two or three broken sentences.

There seemed to be nothing to say, for everything was said in a wordless, clear mode of understanding, which lovers and saints know.

There was little plot to it, yet there was no lack of interest.

In fact so light-footed were the swift moments in the rose-scented dark garden that Johnny McLean forgot, as others have forgotten before him, that time was.

He forgot that magnificent lot of fellows, his classmates; there was not a circumstance outside of the shadowy garden which he did not whole-heartedly forget.

Till a shock brought him to.

The town was alive with bands and cheers and shouts and marching;

the distinct noises rose and fell and fused and separated, but kept their distance.

When one body of sound, which unnoticed by the lovers had been growing less vague, more compact, broke all at once into loud proximity--men marching, men shouting, men singing.

The two, hand tight in hand, started, looked at each other, listened--and then a name came in a dozen sonorous voices, as they used to shout it in college days, across the Berkeley Oval.

"McLean!

McLean!"

they called.

"Oh, Johnny McLean!"

and "Come out there, oh, Johnny McLean!"

That was Baby Thomas.

"By Jove, they've trapped me," he said, smiling in the dark and holding the hand tighter as the swinging steps stopped in front of the house of the garden.

"Brant must have told."

"They've certainly found you," the girl said.

Her arms, lifted slowly, went about his neck swiftly.

"You're mine--but you're theirs to-night.

I haven't a right to so much of you even.

You're theirs.

Go."

And she held him.

But in a second she had pushed him away.

"Go," she said.

"You're theirs, bless every one of them."

She was standing alone in the dark, sweet garden and there was a roar in the street which meant that he had opened the door and they had seen him.

And with that there were shouts of "Put him up"--"Carry him"--"Carry the boy," and laughter and shouting and then again the measured tread of many men retreating down the street, and men's voices singing together.

The girl in the dark garden stood laughing, crying, and listened.

"Mother of men!"

-- the deep voices sang-- "Mother of men grown strong in giving-- Honor to him thy light have led;

Rich in the toil of thousands living, Proud of the deeds of thousands dead!

We who have felt thy power, and known thee, We in whose lives thy lights avail, High, in our hearts enshrined, enthrone thee, Mother of men, old Yale!"

*** END OF THE PROJECT GUTENBERG EBOOK THE COURAGE OF THE COMMONPLACE *** 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.