The Project Gutenberg EBook of James Lane Allen: A Sketch of his Life and Work, by Macmillan Company This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: James Lane Allen: A Sketch of his Life and Work Author: Macmillan Company Release Date: June 27, 2008 [EBook #25915] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK JAMES LANE ALLEN: A SKETCH *** Produced by David Garcia and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Kentuckiana Digital Library)
While "The Choir Invisible" was primarily a love story, the setting in which its action moved was historical. Apart from the masterly handling of human passion and the harmony of thought and expression with which he has treated the larger and deeper movements of life, it is probably Mr. Allen's ability to picture forth the early settlement of Kentucky that has given his writings so solid a foundation in the literary affections of English speaking people.
The fascination that "The Choir Invisible" has had for so many thousands of readers is assuredly due as much to the author's faithful historic treatment of the mighty stream of migration which had begun to spread through the jagged channels of the Alleghanies over the then unknown illimitable West as to his power to tell an absorbing story. When "The Choir Invisible" appeared, this perhaps most fascinating period of early American history had not been used as a background of his story by any great master of fiction, and it requires no very keen literary insight to discover the sources of the popularity which has been accorded to the four or five recent novels, each of which has for its setting a period in our history whose glamour has touched our hearts and stirred our imaginations.
Contemporary judgment is singularly unanimous in placing Mr. Allen in the front rank of American novelists, and it may not be out of place here to quote the opinions of two or three of the leading literary critical journals. William Morton Payne, in the Dial says that:
"Looking about among our younger men of letters for the promise of some new and vital impulse, it has for several years seemed to us that such an impulse might be expected to come from the work of Mr. James Lane Allen. He has published few books as yet, but the number is sufficient to reveal a steadily increasing mastery of his art, and the quality such as to warrant readers of discernment in predicting for him a brilliant career and an assured place in the front rank of American writers. The Choir Invisible does not disappoint these expectations. It is not only the most ambitious of Mr. Allen's books, considered merely as to its sale, but it is also the one in which he has carried to the highest pitch that fineness of perception and that distinction of manner that have from the first set his work apart from the work of nearly all of his contemporaries. Hardly since Hawthorne have we had such pages as the best of these; hardly since The Scarlet Letter and The Marble Faun have we had fictive work so spiritual in essence and adorned with such delicate and lovely embroiderings of the imagination. There are descriptive passages so exquisitely wrought that the reader lingers over them to make them a possession forever; there are inner experiences so intensely realized that they become a part of the life of his own soul."...
And again writing in the Boston Transcript, Bliss Carman, says:
"There are two chief reasons why Mr. Allen seems to me one of the first of our novelists to day. He is most exquisitely alive to the fine spirit of comedy. He has a prose style of wonderful beauty, conscientiousness and simplicity.... He has the inexorable conscience of the artist, he always gives us his best; and that best is a style of great purity and felicity and sweetness, a style without strain and yet with an enviable aptness for the sudden inevitable word.... And yet that care, that deliberation is never tedious."
Hamilton W. Mabie is attracted more by the landscape beauty of Mr. Allen's work, and he too makes an original contribution to our subject. He says in The Outlook:
"No American novelist has so imbedded his stories in Nature as has James Lane Allen; and among English novels one recalls only Mr. Hardy's three classics of pastoral England, and among French novelists George Sand and Pierre Loti. Nature furnishes the background of many charming American stories, and finds delicate or effective remembrance in the hands of writers like Miss Jewett and Miss Murfree; but in Mr. Allen's romances Nature is not behind the action; she is involved in it. Her presence is everywhere; her influence streams through the story; the deep and prodigal beauty which she wears in rural Kentucky shines on every page; the tremendous forces which sweep through her disclose their potency in human passion and impulse. There was a fine note in Mr. Allen's earliest work; a prelusive note with the quality of the flute.... In Summer in Arcady a deeper note in the treatment of Nature was struck, and Mr. Allen's style took on, not only greater freedom, but a richer beauty. The story is a kind of incarnation of the tremendous vitality of Nature, the unconscious, unmoral sweep of the force which makes for life. So completely enveloped is the reader in the atmosphere of the opulent world about him, so deeply does he realize the primeval forces rushing tumultuous through that world, that at times the human figures seem as subordinate as those in Corot's landscapes. And yet these human struggles are intensely real, the human drama intensely genuine. Whatever may be thought of the wisdom of presenting the sex problem so frankly, Mr. Allen's sharpest critic must confess that in no other American book is atmosphere so pervasive, so potential, so charged with passion and beauty.
In The Choir Invisible a still deeper note is struck; the moral insight, always clear, is more penetrating; the feeling for life is at once more restrained and more passionate; the constructive skill is more marked; the style surer and entirely moulded to its theme. This story is so steeped in beauty, both of the world and of the spirit, that it is not easy to write of it dispassionately. It has a richness of texture which American fiction, as a rule, has lacked; there are depths in it which American fiction has not, as rule, brought to the consciousness of readers; depths of life below the region of observation. There is in it the unconsciousness and abandon which are the very substance of art, and which are so constantly missed in the fiction of extreme sophistication."
Our final opinion, that of James McArthur when he was editor of the Bookman carries some weight both on account of the position of the writer and also by reason of his keen literary sense.
"... Poetry, 'the breath and finer spirit of all knowledge,' according to Wordsworth, the impassioned expression which is in the countenance of all science'—that poetry irrespective of rhyme and metrical arrangement which is as immortal as the heart of man, is distinctive in Mr. Allen's work from the first written page. Like Minerva issuing full-formed from the head of Jove, Mr. Allen issues from his long years of silence and seclusion a perfect master of his art—unfailing in its inspiration, unfaltering in its classic accent.... So that when we arrive at The Choir Invisible we find there a ripeness of matured thought, an insight into the moral depths of passion, and an entrance into the larger, deeper movements of life, a realizing power, a broader sense of humor, as well as humor itself, a concentrated and universal human interest; all of which is not so much the result of finer art as of a greater absorption of life, which comes not from more knowledge, but from more wisdom. The Choir Invisible is like an inward realization of the 'Domain of Arnheim!' More than in his other books there rests upon this work that unembarrassed calm, where truth sits Jove-like 'on the quiet seat above the thunder,' where the spirit is dignified, is priest-like, and inspired; where beauty dwells in a harmony of thought and expression that subdues and haunts us. In short, in The Choir Invisible Mr. Allen has come to that stage of quiet and eternal frenzy in which the beauty of holiness and the holiness of beauty burn as one fire, shine as one light, which, as Sidney Lanier has demonstrated, denotes the great artist. The Choir Invisible undeniably places its author among the foremost in American letters. Indeed, we venture to say that it would be difficult to recall any other novel since The Scarlet Letter that has touched the same note of greatness, or given to one section of our national life, as Hawthorne's classic did to another, a voice far beyond singing.
A word, however, about Mr. Allen's Summer in Arcady which precedes this, and was published * * * subsequent to A Kentucky Cardinal and Aftermath. In these two books Nature was interwoven benignantly with the human nature resting on her bosom, leading her lover, Adam Moss, with gentle influences to the human lover, and when bereft of human love, receiving him back into her healing arms. Not so in Summer in Arcady; the sunlight that brooded in calm over the forces of Nature that nursed Adam Moss's latent powers of loving into domestic serenity, rouses the fierce claw and tooth of Nature to drag Hilary and Daphne down to her level. As clearly as the poet saw that, 'all's Love, yet all's Law' so clearly is the same truth held in these stories with their divergent ends. The lawlessness of Nature is the lawlessness of man, untempered and ungoverned by that principle of chastity which is the law of love; and again Nature, lawless in herself, becomes beneficent, law-abiding, when controlled by that higher law of instinct in man which is the seal and sign of the Divine upon his soul. Without moralizing, a moral principle is at work in Summer in Arcady; it is its vital distinction that over the whole action reigns a moral simplicity which, like sunlight, licks up the fœtid, the exciting, sickening, uncertain torch-flames of passion. And in order to point the way to a full justification of the author's sincerity and moral purpose against the charge of pandering to a decadent taste for the 'downwardtending' fiction of the hour, it will be sufficient to show that the plea for the Divine supremacy of goodness, and for an unfallen purity in man and woman, has never been more strongly urged in modern fiction than in The Choir Invisible.
If in Summer in Arcady there were readers who were troubled by the heat lightning of passion that incessantly fluttered in its bosom and threatened to bolt from the blue, their fears will be laid to rest in the contemplation of Mr. Allen's new work which is pervaded by an intense summer calm—the brooding calm of the Country of the Spirit—but which does not preclude, rather is reached through, the fierce fightings of human spirit for victory over the evil passions of human nature—the fiercest struggle that can rend asunder the human breast, that of holding fast the integrity and purity of manhood and womanhood at any cost."
As a historical novelist then, Mr. Allen has taken his rank with the few men of whom Nathaniel Hawthorne is perhaps the most famous; and for the same reason. Both have given us pictures of the lives of our forefathers, whose faithfulness has assured them a position as classics in American literature. True to the instinct of his genius Mr. Allen has again chosen a stirring period in our history as a background for his new novel "The Reign of Law" which The Macmillan Company publish. Both the hero and heroine are products of a Revolution, and the scene of the plot is situated in the Kentucky hemp fields. The Revolution on the one hand was the social upheaval that our Civil War caused in the South. While on the other hand it was the moral and intellectual Revolution which followed the great discoveries in physical and social science in the middle of this Century.
The two chief characters of the story are a young man and a young woman. The young man sprung from the lowest stratum of Southern society, and the young woman from the highest. The story of the intermingling of their lives must be left for the reader to discover.
As was so often the case during the political reconstruction of the South, the heroine passed from the sphere of the high social organization which existed at her birth to the humblest and most obscure hard manual work, while the hero rose from the lowest social condition to the highest intellectual plane, finding his development along the lines of religious and scientific thought. When they finally meet, the latter half of the story shows their influences on each other.
The involved social and political conditions, the play and interaction of phases of life, so utterly different as those which form the experiences of these two people, have allowed Mr. Allen a wide scope for the subtle analysis of character of which in his exquisitely delicate art he is such a master.
The trend of the book, and the religious crisis through which its hero passes, give the story its title; while an important part in the development of the hero's character is played by his passionate love story.
A well known critic affirms that the story contains by far the finest and noblest work Mr. Allen has yet done, both in respect of that human passion and interest which characterizes his former work, and also in the tender reverential feeling with which he dwells on the simple rural life of the Kentucky which he loves so well. In spite of the reserve which characterizes the author, a few of the leading facts of his life have found their way into print, and may be of interest to many who read his books.
He comes from Virginia ancestry and a pioneer Kentucky family. His mother's maiden name was Helen Foster, whose parents settled in Mississippi and were of Revolutionary Scotch-Irish stock of Pennsylvania. He was born on a farm in Fayette County seven miles from Lexington, Kentucky, where he spent his early childhood. He was educated in Kentucky (Transylvania) University, and graduated in 1872. For several years afterward he taught in District schools, at first near his home and then in Missouri. He afterward became a private tutor, and finally accepted a Professorship at his Alma Mater which he exchanged for a similar position at Bethany College, West Virginia. He gave up this latter profession in 1884 and began his career as a writer in the city of New York.
The chief literary and critical Magazines and papers of those years contain many of his essays, while all his short stories saw the light in "Harper's Magazine" and the "Century." These short stories were collected and published under the title of "Flute and Violin." His other books are "The Blue Grass Region of Kentucky," "A Kentucky Cardinal," and its sequel, "Aftermath," "A Summer in Arcady," and lastly "The Choir Invisible," some two hundred and fifty thousand copies of which have found their way into the hands of readers on both sides of the Atlantic.
A new and complete edition of Mr. Allen's works is now being issued by The Macmillan Company. It will contain seven volumes; including The Reign of Law, A Story of the Kentucky Hemp Fields, an account of which has been given in the preceding pages.
James Lane Allen's
NEW NOVEL
A TALE OF THE KENTUCKY HEMP FIELDS
| Cloth, 8vo. | Illustrated $1.50 |
OTHER WORKS BY THE SAME AUTHOR
| FLUTE AND VIOLIN | Cloth, 12mo, $1.50 |
| BLUE GRASS REGION OF KENTUCKY | Cloth, 12mo, $1.50 |
| A KENTUCKY CARDINAL | Cloth, 16mo, $1.00 |
| AFTERMATH | Cloth, 16mo, $1.00 |
| TWO GENTLEMEN OF KENTUCKY | Cloth, 18mo, $2.00 |
| A SUMMER IN ARCADY | Cloth, 12mo, $2.00 |
| THE CHOIR INVISIBLE | Cloth, 12mo, $1.50 |
The same Illustrated with Photogravures and Line
Drawings, by
Orson Lowell. Sateen. $2.50
| PUBLISHED BY | |
| THE MACMILLAN COMPANY | |
| 66 FIFTH AVENUE | NEW YORK |
End of the Project Gutenberg EBook of James Lane Allen: A Sketch of his Life
and Work, by Macmillan Company
*** END OF THIS PROJECT GUTENBERG EBOOK JAMES LANE ALLEN: A SKETCH ***
***** This file should be named 25915-h.htm or 25915-h.zip *****
This and all associated files of various formats will be found in:
https://www.gutenberg.org/2/5/9/1/25915/
Produced by David Garcia and the Online Distributed
Proofreading Team at https://www.pgdp.net (This file was
produced from images generously made available by The
Kentuckiana Digital Library)
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. 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 MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.pglaf.org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
https://pglaf.org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://pglaf.org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://pglaf.org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit: https://pglaf.org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
https://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.