A Michigan Man / 1891
Date: 2007-10-24T00:00:00+00:00
Keywords: Short stories

The Project Gutenberg eBook of A Michigan Man

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.

Title: A Michigan Man

Author: Elia Wilkinson Peattie

Release date: October 24, 2007 [eBook #23176]
Most recently updated: January 22, 2013

Language: English

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK A MICHIGAN MAN ***

A MICHIGAN MAN

By Elia W. Peattie

Copyright, 1891, by J. B. Lippincott & Co

A pine forest is nature's expression of solemnity and solitude. Sunlight, rivers, cascades, people, music, laughter, or dancing could not make it gay. With its unceasing reverberations and its eternal shadows, it is as awful and as holy as a cathedral.

Thirty good fellows working together by day and drinking together by night can keep up but a moody imitation of jollity. Spend twenty-five of your forty years, as Luther Dallas did, in this perennial gloom, and your soul—that which enjoys, aspires, competes—will be drugged as deep as if you had quaffed the cup of oblivion. Luther Dallas was counted one of the most experienced axe-men in the northern camps. He could fell a tree with the swift surety of an executioner, and in revenge for his many arborai murders the woodland had taken captive his mind, captured and chained it as Prospero did Ariel. The resounding footsteps of Progress driven on so mercilessly in this mad age could not reach his fastness. It did not concern him that men were thinking, investigating, inventing. His senses responded only to the sonorous music of the woods; a steadfast wind ringing metallic melody from the pine-tops contented him as the sound of the sea does the sailor; and dear as the odors of the ocean to the mariner were the resinous scents of the forest to him. Like a sailor, too, he had his superstitions. He had a presentiment that he was to die by one of these trees—that some day, in chopping, the tree would fall upon and crush him as it did his father the day they brought him back to the camp on a litter of pine boughs.

One day the gang boss noticed a tree that Dallas had left standing in a most unwoodman-like manner in the section which was alloted to him.

"What in thunder is that standing there for?" he asked.

Dallas raised his eyes to the pine, towering in stern dignity a hundred feet above them.

"Well," he said, feebly, "I noticed it, but kind-a left it t' the last."

"Cut it down to-morrow," was the response.

The wind was rising, and the tree muttered savagely. Luther thought it sounded like a menace, and turned pale. No trouble has yet been found that will keep a man awake in the keen air of the pineries after he has been swinging his axe all day, but the sleep of the chopper was so broken with disturbing dreams that night that the beads gathered on his brow, and twice he cried aloud. He ate his coarse flap-jacks in the morning and escaped from the smoky shanty as soon as he could.

"It'll bring bad luck, I'm afraid," he muttered as he went to get his axe from the rack. He was as fond of his axe as a soldier of his musket, but to-day he shouldered it with reluctance. He felt like a man with his destiny before him. The tree stood like a sentinel. He raised his axe, once, twice, a dozen times, but could not bring himself to make a cut in the bark. He walked backward a few steps and looked up. The funereal green seemed to grow darker and darker till it became black. It was the embodiment of sorrow. Was it not shaking giant arms at him? Did it not cry out in angry challenge? Luther did not try to laugh at his fears; he had never seen any humor in life. A gust of wind had someway crept through the dense barricade of foliage that flanked the clearing, and struck him with an icy chill. He looked at the sky: the day was advancing rapidly. He went at his work with an energy as determined as despair. The axe in his practiced hand made clean straight cuts in the trunk, now on this side, now on that. His task was not an easy one, but he finished it with wonderful expedition. After the chopping was finished, the tree stood firm a moment; then, as the tensely strained fibres began a weird moaning, he sprang aside, and stood waiting. In the distance he saw two men hewing a log. The axe-man sent them a shout and threw up his arms for them to look.

The tree stood out clear and beautiful against the gray sky; the men ceased their work and watched it. The vibrations became more violent, and the sounds they produced grew louder and louder till they reached a shrill wild cry. There came a pause; then a deep shuddering groan. The topmost branches began to move slowly, the whole stately bulk swayed, and then shot toward the ground. The gigantic trunk bounded from the stump, recoiled like a cannon, crashed down, and lay conquered, with a roar as of an earthquake, in a cloud of flying twigs and chips.

When the dust had cleared away, the men at the log on the outside of the clearing could not see Luther. They ran to the spot, and found him lying on the ground with his chest crushed in. His fearful eyes had not rightly calculated the distance from the stump to the top of the pine, nor rightly weighed the power of the massed branches, and so, standing spell-bound, watching the descending trunk as one might watch his Nemesis, the rebound came and left him lying worse than dead.

Three months later, when the logs, lopped of their branches, drifted down the streams, the woodman, a human log lopped of his strength, drifted to a great city. A change, the doctor said, might prolong his life. The lumbermen made up a purse, and he started out, not very definitely knowing his destination. He had a sister, much younger than himself, who at the age of sixteen had married and gone, he believed, to Chicago. That was years ago, but he had an idea that he might find her. He was not troubled by his lack of resources: he did not believe that any man would want for a meal unless he were "shiftless." He had always been able to turn his hand to something.

He felt too ill from the jostling of the cars to notice much of anything on the journey. The dizzy scenes whirling past made him faint, and he was glad to lie with closed eyes. He imagined that his little sister in her pink calico frock and bare feet (as he remembered her) would be at the station to meet him. "Oh, Lu!" she would call from some hiding-place, and he would go and find her.

The conductor stopped by Luther's seat and said that they were in the city at last; but it seemed to the sick man as if they went miles after that, with a multitude of twinkling lights on one side and a blank darkness that they told him was the lake on the other. The conductor again stopped by his seat.

"Well, my man," said he, "how are you feel-ing?"

Luther, the possessor of the toughest muscles in the gang, felt a sick man's irritation at the tone of pity.

"Oh, I'm all right!" he said, gruffly, and shook off the assistance the conductor tried to offer with his overcoat. "I'm going to my sister's," he explained, in answer to the inquiry as to where he was going. The man, somewhat piqued at the spirit in which his overtures were met, left him, and Luther stepped on to the platform. There was a long vista of semi-light, down which crowds of people walked and baggagemen rushed. The building, if it deserved the name, seemed a ruin, and through the arched doors Luther could see men—hackmen—dancing and howling like dervishes. Trains were coming and going, and the whistles and bells kept up a ceaseless clangor. Luther, with his small satchel and uncouth dress, slouched by the crowd unnoticed, and reached the street. He walked amid such an illumination as he had never dreamed of, and paused half blinded in the glare of a broad sheet of electric light that filled a pillared entrance into which many people passed. He looked about him. Above on every side rose great, many-windowed buildings; on the street the cars and carriages thronged, and jostling crowds dashed headlong among the vehicles. After a time he turned down a street that seemed to him a pandemonium filled with madmen. It went to his head like wine, and hardly left him the presence of mind to sustain a quiet exterior. The wind was laden with a penetrating moisture that chilled him as the dry icy breezes from Huron never had done, and the pain in his lungs made him faint and dizzy. He wondered if his red-cheeked little sister could live in one of those vast, impregnable buildings. He thought of stopping some of those serious-looking men and asking them if they knew her, but he could not muster up the courage. The distressing experience that comes to almost every one some time in life, of losing all identity in the universal humanity, was becoming his. The tears began to roll down his wasted face from loneliness and exhaustion. He grew hungry with longing for the dirty but familiar cabins of the camp, and staggered along with eyes half closed, conjuring visions of the warm interiors, the leaping fires, the groups of laughing men seen dimly through clouds of tobacco smoke.

A delicious scent of coffee met his hungry sense and made him really think he was taking the savory black draught from his familiar tin cup; but the muddy streets, the blinding lights, the cruel, rushing people, were still there. The buildings, however, now became different. They were lower and meaner, with dirty windows. Women laughing loudly crowded about the doors, and the establishments seemed to be equally divided between saloon-keepers, pawnbrokers, and dealers in second-hand clothes. Luther wondered where they all drew their support from. Upon one signboard he read, "Lodgings 10 cents to 50 cents. A Square Meal for 15 cents," and, thankful for some haven, entered. Here he spent his first night and other nights, while his purse dwindled and his strength waned. At last he got a man in a drug store to search the directory for his sister's residence. They found a name he took to be his brother-in-law's. It was two days later when he found the address—a great many-storied mansion on one of the southern boulevards—and found also that his search had been in vain. Sore and faint, he staggered back to his miserable shelter, only to arise feverish and ill in the morning. He frequented the great shop doors, thronged with brilliantly dressed ladies, and watched to see if his little sister might not dash up in one of those satin-lined coaches and take him where he would be warm and safe and would sleep undisturbed by drunken, ribald songs and loathsome surroundings. There were days when he almost forgot his name, and, striving to remember, would lose his senses for a moment and drift back to the harmonious solitudes of the North and breathe the resin-scented frosty atmosphere. He grew terrified at the blood he coughed from his lacerated lungs, and wondered bitterly why the boys did not come to take him home.

One day, as he painfully dragged himself down a residence street, he tried to collect his thoughts and form some plan for the future. He had no trade, understood no handiwork: he could fell trees! He looked at the gaunt, scrawny, transplanted specimens that met his eye, and gave himself up to the homesickness that filled his soul. He slept that night in the shelter of a stable, and spent his last money in the morning for a biscuit.

He traveled many miles that afternoon looking for something to which he might turn his hand. Once he got permission to carry a hod for half an hour. At the end of that time he fainted. When he recovered, the foreman paid him twenty-five cents. "For God's sake, man, go home," he said. Luther stared at him with a white face and went on.

There came days when he so forgot his native dignity as to beg. He seldom received anything; he was referred to various charitable institutions whose existence he had never heard of.

One morning, when a pall of smoke enveloped the city and the odors of coal-gas refused to lift their nauseating poison through the heavy air, Luther, chilled with dew and famished, awoke to a happier life. The loneliness at his heart was gone. The feeling of hopeless imprisonment that the miles and miles of streets had terrified him with gave place to one of freedom and exaltation. Above him he heard the rasping of pine boughs; his feet trod on a rebounding mat of decay; the sky was as coldly blue as the bosom of Huron. He walked as if on ether, singing a senseless jargon the woodmen had aroused the echoes with:

"Hi yi halloo!
The owl sees you!
Look what you do!
Hi yi halloo!"

Swung over his shoulder was a stick he had used to assist his limping gait, but now transformed into the beloved axe. He would reach the clearing soon, he thought, and strode on like a giant, while people hurried from his path. Suddenly a smooth trunk, stripped of its bark and bleached by weather, arose before him.

"Hi yi halloo!" High went the wasted arm—crash!—a broken staff, a jingle of wires, a maddened, shouting man the centre of a group of amused spectators! 'A few moments later, four broad-shouldered men in blue had him in their grasp, pinioned and guarded, clattering over the noisy streets behind two spirited horses. They drew after them a troop of noisy, jeering boys, who danced about the wagon like a swirl of autumn leaves. Then came a halt, and Luther was dragged up the steps of a square brick building with a belfry on the top. They entered a large bare room with benches ranged about the walls, and brought him before a man at a desk.

"What is your name?" asked the man at the desk.

"Hi yi halloo!" said Luther.

"He's drunk, sergeant," said one of the men in blue, and the axe-man was led into the basement. He was conscious of an involuntary resistance, a short struggle, and a final shock of pain—then oblivion.

The chopper awoke to the realization of three stone walls and an iron grating in front. Through this he looked out upon a stone flooring across which was a row of similar apartments. He neither knew nor cared where he was. The feeling of imprisonment was no greater than he had felt on the endless, cheerless streets. He laid himself on the bench that ran along a side wall, and, closing his eyes, listened to the babble of the clear stream and the thunder of the "drive" on its journey. How the logs hurried and jostled! crushing, whirling, ducking, with the merry lads leaping about them with shouts and laughter. Suddenly he was recalled by a voice. Some one handed a narrow tin cup full of coffee and a thick slice of bread through the grating. Across the way he dimly saw a man eating a similar slice of bread. Men in other compartments were swearing and singing, He knew these now for the voices he had heard in his dreams. He tried to force some of the bread down his parched and swollen throat, but failed; the coffee strangled him, and he threw himself upon the bench.

The forest again, the night-wind, the whistle of the axe through the air! Once when he opened his eyes he found it dark! It would soon be time to go to work. He fancied there would be hoarfrost on the trees in the morning. How close the cabin seemed! Ha!—here came his little sister. Her voice sounded like the wind on a spring morning. How loud it swelled now! "Lu! Lu!" she cried.

The next morning the lock-up keeper opened the cell door. Luther lay with his head in a pool of blood. His soul had escaped from the thrall of the forest.

"Well, well!" said the little fat police justice, when he was told of it. "We ought to have a doctor around to look after such cases."

*** END OF THE PROJECT GUTENBERG EBOOK A MICHIGAN MAN ***

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 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. 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 ($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 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.

Table of Contents

- A MICHIGAN MAN

- THE FULL PROJECT GUTENBERG LICENSE