The congo rovers, p.30

The Congo Rovers, page 30

 

The Congo Rovers
Select Voice:
Brian (uk)
Emma (uk)  
Amy (uk)
Eric (us)
Ivy (us)
Joey (us)
Salli (us)  
Justin (us)
Jennifer (us)  
Kimberly (us)  
Kendra (us)
Russell (au)
Nicole (au)


1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

Larger Font   Reset Font Size   Smaller Font  

  A careful calculation, based upon our knowledge of the Black Venus’s extraordinary sailing powers, showed that we might look for her about half-past nine o’clock; and half an hour previous to that we began to make our preparations for according to her a suitable reception. The decks were cleared for action, the magazine was opened, arms and ammunition were served out to the crew, who were then sent to quarters; the guns were loaded each with a round-shot and a charge of grape on the top of it, and all the canvas was loosed and made ready for setting at a moment’s notice. Then all the sharpest eyes available in the ship were set upon the watch for our slippery foe, and we were ready.

  The night-mists to which frequent reference has been made are, it ought to be explained, confined to the river itself; and though on such occasions as that of which we are now treating they are carried out to seaward by the land-breeze a few miles beyond the river’s mouth, they soon get dissipated; so that whilst in the river itself the fog may be so thick as to render it impossible to see further than half the ship’s length ahead, it will be perfectly clear at a distance of seven or eight miles outside. It was just upon the outer or seaward skirts of the fog-bank that we had taken up our station and were hovering to and fro.

  The Virginia had just gone round, and was stretching to the southward upon the port tack, when, from my station on the heel of the bowsprit, I thought I detected a sudden thickening of the haze at a spot about three points on the weather-bow. Straining my eyes to their utmost I gazed intently into the darkness; the appearance became more pronounced, more defined every second, and as I watched it assumed the form of an irregularly-shaped truncated pyramid.

  “Sail ho! broad on the weather-bow!” I exclaimed joyously; and in a moment half a dozen voices exultingly reiterated the cry of “Sail ho!”

  Yes, there could be no mistake about it; for whilst the words were still upon our lips the apparition grew more substantial, assumed the misty outline of a ship in full sail, and finally shot out from among the fog-wreaths clear and well-defined—a brig running before the wind under studding-sails.

  I hastened aft to where Smellie stood grasping the maintopmast backstay, and was greeted by him with the characteristic remark of:

  “What a fellow he must be, and what nerve he must have! Fancy a man running out of that river and through the fog under studding-sails.” Then, turning to the helmsman, he said:

  “Now we have him fairly, I think. Up with your helm, my man, and steer for his jib-boom end. Mr Costigan,”—to the first lieutenant—“make sail, if you please.”

  “Oi, oi, sorr,” answered that worthy in a rich Hibernian brogue. “Let go and overhaul the fore and main clewgarnets; board the fore and main tacks and aft wid the sheets. Fore and main topmast-staysail and jib halliards, hoist away. Sheet home and set the fore and main-topgallant-sails, and be smart about it. Aisy now, there, wid that main tack; don’t ye see, you spalpeens, that the ship is bearin’ up. Man the braces, fore and aft; ease up to leeward and round in to windward as the ship pays off. Well of all, belay, and coil up. Misther Hawkesley, am I to have the pleasure of showin’ ye the way on board the hooker yonder?”

  “Thanks, no, I think not, Costigan,” I answered with a laugh. “I propose to lend my valuable aid to the alter division of the boarders; you are a host in yourself, you know, and can manage very well without me. But I shall keep a look-out for you in the waist of the brig.”

  “Very well, it’s there I’ll mate ye, young gintleman, or my name’s not Denis Costigan.”

  And away hurried the impetuous Irishman to place himself at the head of the forward division of boarders.

  The brig had sighted us almost as quickly as we had her, and she made one or two attempts to dodge us. But it was of no use, she had run into our arms, as it were; we were much too close together when the vessels became visible to each other to render anything like dodging at all possible; moreover Smellie, standing there on the breach of one of the guns, watched the chase with so unwavering an eye and met any deviation on her part so promptly with a corresponding swerve on the part of the Virginia, that Señor Madera soon scornfully gave up the attempt, and held steadily forward upon his course.

  The sister brigs, for such they eventually proved to be, now running on almost parallel courses, soon narrowed the space between them to a bare hundred feet, the Virginia, however, having been so carefully steered as to give her a slight lead. This seemed to be the moment for which Señor Madera had waited, for he now suddenly threw open his ports, and without attempting the mockery of hoisting an ensign of any kind, poured into us the whole contents of his double-shotted starboard broadside, aiming high, however, with the evident hope of knocking away some of our more important spars. Our lower canvas was immediately riddled and a few unimportant ropes were cut; but beyond this we fortunately sustained no damage.

  By way of reply to this, Smellie, without removing his eyes from the chase, waved his hand gently to the helmsman; the wheel was put a half a dozen spokes or so over to port, and the Virginia slewed slightly more toward her antagonist.

  “Now, steady men,” cautioned the skipper. “Do not fire until I give the word, then pour your broadside in upon her decks—not a shot below the sheer-strake for your lives.” I well knew of whom he was thinking when he said this; Antonia was doubtless in the cabin, and it was her safety for which he was thus careful. “And as soon as you have fired your broadside,” he continued, “draw your cutlasses and stand by to board. Are the grappling-irons all ready?”

  “All ready, sir,” came the reply from the tars who were standing by to throw them, and then there ensued a few breathless moments of intense silence.

  Gradually the two brigs neared each other, until the lap and swirl of the water along our antagonists’ sides could be distinctly heard. At that moment a rattling volley of small-arms was discharged from the Black Venus, and I saw Smellie start and reel on his elevated perch. The next instant, however, he had recovered himself, and once more waving to the helmsman, he gave the word:

  “Fire!”

  Prompt at the command, our broadside rattled out, and amid the crashing of timber and the shrieks of the wounded I felt the jar of collision between the two vessels.

  “Heave!” shouted Smellie. “Boarders away!” And with a simultaneous spring fore and aft, away we went over the bulwarks and down on to the crowded decks of the Black Venus.

  The fight was short but stubborn. Our antagonists fought with the desperate bravery of men who already felt the halters settling round their necks; but whoever heard of British tars yielding an enemy’s deck when once their feet were firmly planted upon it? Besides, almost every individual man among us felt that we had a long score of disappointments and floutings to wipe out, and steadily but irresistibly we drove the pirates into the waist of their ship, where, huddled closely together, it was impossible for them to use their arms effectively. Finally, Smellie and Madera, after several unsuccessful efforts to get at each other, managed to cross swords, and after a few rapid passes the latter fell, run through the body by the skipper. In the very act of falling, however, he whipped a pistol from his belt and aiming point blank at the skipper, fired, the ball passing through Smellie’s lungs. The poor fellow turned blindly, and with the blood spurting from his mouth reeled into my arms.

  I knew very little of the fight after this, for summoning a couple of men I at once proceeded to remove the skipper on board his own vessel; but before we had got him fairly down on deck a cheer from our lads told us that victory had once more declared herself on our side, and that the redoubtable Black Venus was ours.

  Getting Smellie below and into his cot with all speed, I waited until the arrival of the surgeon upon the scene, when, handing the patient over to his tender mercies, I hastened back on board the prize, and went straight below into her cabin. It was a magnificently furnished apartment, and fitted with every luxury, even to a guitar. But it was empty. Could it be possible that we had been deceived, after all, as to the circumstances of Doña Antonia’s abduction? Perhaps she was concealed somewhere. I shouted:

  “Doña Antonia! Doña Antonia! are you here? Fear not; it is I—Dick Hawkesley. We have captured this vessel; Madera is wounded, if not slain outright; your father is at hand, and you are free.”

  “Who calls?” I heard a voice—Madre Dolores’—exclaim from an adjacent berth, the door of which was closed. “Who calls?”

  “I—Dick Hawkesley,” I replied. “Don’t you recognise my voice, Madre?”

  “Ay, to be sure I do—rum” was the reply. A sound of the withdrawal of bolts followed; the door cautiously opened, and the Madre, with her eyes gleaming and a cocked pistol pointed straight in my direction, protruded her head through the opening. One look was sufficient. With a wild cry of delight she dashed the pistol to the floor, exploding it in the act, and sending the ball within a hair’s-breadth of my starboard ankle, and rushing forward flung her arms convulsively about my neck, pouring out a torrent of Spanish endearments between the kisses which the poor old soul liberally bestowed upon me. I submitted with a good grace for a moment, and then gently but firmly withdrew myself from her embraces, to meet the glance of Doña Antonia, who stood in the doorway of the state-room, looking on with a curiously mingled expression of fear, doubt, and amusement.

  A few words sufficed to fully explain to her the state of affairs, and then hastily enveloping her and old Dolores in the first wraps that came to hand, I conveyed them with all speed on board the Virginia and presented them to Don Manuel.

  My story is now ended, or nearly so; my adventures on the Congo and the west coast terminating with the capture of the Black Venus; a few additional words, therefore, will suffice to fittingly dismiss the principal personages who have figured in this history, and to bring the history itself to a symmetrical conclusion.

  We returned with our prize to Banana Creek, on the morning following the action, and there remained for a couple of days to bury the dead, and to refit. Don Manuel embraced this opportunity to make a flying visit to his house, from which he returned after an absence of a few hours only, bringing with him a small but solidly constructed and extremely heavy oak chest, which he explained to me in confidence contained his daughter’s dowry, and which eventually proved to be the receptacle of a goodly store of Spanish dollars.

  From Banana Creek the two brigs proceeded in company to Sierra Leone, where the Black Venus was soon afterwards adjudicated upon and condemned as a pirate, my evidence and that of the other six survivors from the Daphne being accepted as conclusive of the fact that she had been guilty of at least one act of piracy; namely, in the case of the Highland Chieftain. Her crew were committed to prison upon heavy sentences, meted out in proportion to the comparative guilt of the parties; but additional evidence shortly afterwards cropping up—that of poor Richards of the Juliet amongst it—additional charges were preferred against them; and Madera, who proved to be the half-brother of the fictitious Monsieur Le Breton, late of the Virginia, with his officers and several of his men, suffered the penalty of death by hanging.

  Smellie’s wound proving unexpectedly troublesome, he was ordered home that he might have the benefit of a more temperate climate to assist his recovery, and he accordingly took passage for London in a tidy little barque, the Lilian, Don Manuel and his daughter, with old Dolores, all of whom had gone on to Sierra Leone with us, also engaging berths in the same vessel. The survivors from the Daphne being also ordered home to stand their trial for the loss of that vessel, I thought I could not do better than secure one of the remaining berths in the Lilian’s cabin—the men being accommodated in the steerage. Thus we had the mutual pleasure of each other’s society all the way home.

  The passage was a long but uneventful one, and by the time that we arrived in the Chops of the Channel Smellie’s wound had taken so favourable a turn that he was almost as well as ever, save and except for a little lingering weakness and shakiness in his lower spars, which, somehow, obstinately continued to need the assistance and support of Doña Antonia’s fair arm whenever the two promenaded the deck together. My gallant superior was extremely anxious to be married immediately on the ship’s arrival, and after the usual protestations and pleadings for delay with which engaged maidens delight to torment their lovers, Doña Antonia so far yielded as to consent to the wedding taking place on the earliest possible day after my trial, so that I might be present at the ceremony.

  And this arrangement was duly carried out; the trial by court-martial being, of course, a mere form, from which I and my fellow-survivors emerged with a full acquittal, accompanied, in my case, by a few very gracious and complimentary remarks from the president on the manner in which I had conducted myself during my short period of service.

  As for Smellie, he found himself fully confirmed in his rank of commander, with the gracious intimation that, in appreciation of his valued services, an appointment would be at his disposal whenever he felt himself sufficiently recovered to ask for it, which he did after a six months’ sojourn at home with his young wife. I sailed with him in the capacity of midshipman, and in the West Indies and elsewhere we passed through several stirring adventures together, the record of which may possibly be given in the future.

  The End.

  * * *

  | Chapter 1 | | Chapter 2 | | Chapter 3 | | Chapter 4 | | Chapter 5 | | Chapter 6 | | Chapter 7 | | Chapter 8 | | Chapter 9 | | Chapter 10 | | Chapter 11 | | Chapter 12 | | Chapter 13 | | Chapter 14 | | Chapter 15 | | Chapter 16 | | Chapter 17 | | Chapter 18 | | Chapter 19 | | Chapter 20 | | Chapter 21 | | Chapter 22 |

  * * *

  End of the Project Gutenberg EBook of The Congo Rovers, by Harry Collingwood *** END OF THIS PROJECT GUTENBERG EBOOK THE CONGO ROVERS *** ***** This file should be named 21060-h.htm or 21060-h.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/2/1/0/6/21060/ Produced by Nick Hodson of London, England 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 http://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 http://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 http://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 http://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 http://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 checks, online payments and credit card donations. To donate, please visit: http://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart is 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: http://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.

 

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Add Fast Bookmark
Load Fast Bookmark
Turn Navi On
Turn Navi On
Turn Navi On
Scroll Up
Turn Navi On
Scroll
Turn Navi On
155