The Project Gutenberg eBook of Subjectivity

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: Subjectivity

Author: Norman Spinrad

Illustrator: Leo Summers

Release date: December 21, 2009 [eBook #30722]

Language: English

Credits: Produced by Sankar Viswanathan, Greg Weeks, and the Online

Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK SUBJECTIVITY ***

Transcriber's Note:

This etext was produced from Analog Science Fact & Fiction January 1964. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.

subjectivity

Boredom on a long, interstellar trip can be quite a problem ... but the entertainment technique the government dreamed up for this one was a leeetle too good...!

NORMAN SPINRAD

Illustrated by Leo Summers

nterplanetary flight having been perfected, the planets and moons of the Sol system having been colonized, Man turned his attention to the stars.

And ran into a stone wall.

After three decades of trying, scientists reluctantly concluded that a faster-than-light drive was an impossibility, at least within the realm of any known theory of the Universe. They gave up.

But a government does not give up so easily, especially a unified government which already controls the entire habitat of the human race. Most especially a psychologically and sociologically enlightened government which sees the handwriting on the wall, and has already noticed the first signs of racial claustrophobia—an objectless sense of frustrated rage, increases in senseless crimes, proliferation of perversions and vices of every kind. Like grape juice sealed in a bottle, the human race had begun to ferment.

Therefore, the Solar Government took a slightly different point of view towards interstellar travel—Man must go to the stars. Period. Therefore, Man will go to the stars.

If the speed of light could not be exceeded, then Man would go to the stars within that limit.

When a government with tens of billions of dollars to spend becomes monomaniacal, Great Things can be accomplished. Also, unfortunately, Unspeakable Horrors.

Stage One: A drive was developed which could propel a spaceship at half the speed of light. This was merely a matter of technological concentration, and several billion dollars.

Stage Two: A ship was built around the drive, and outfitted with every conceivable safety device. A laser-beam communication system was installed, so that Sol could keep in contact with the ship all the way to Centaurus. A crew of ten carefully screened, psyched and trained near-supermen was selected, and the ship was launched on a sixteen-year round-trip to Centaurus.

It never came back.

Two years out, the ten near-supermen became ten raving maniacs.

But the Solar Government did not give up. The next ship contained five near-supermen, and five near-superwomen.

They only lasted for a year and a half.

The Solar Government intensified the screening process. The next ship was manned by ten bona-fide supermen.

They stayed sane for nearly three years.

The Solar Government sent out a ship containing five supermen and five superwomen. In two years, they had ten super-lunatics.

The psychologists came to the unstartling conclusion that even the cream of humanity, in a sexually balanced crew, could not stand up psychologically to sixteen years in a small steel womb, surrounded by billions of cubic miles of nothing.

One would have expected reasonable men to have given up.

Not the Solar Government. Monomania had produced Great Things, in the form of a c/2 drive. It now proceeded to produce Unspeakable Horrors.

The cream of the race had failed, reasoned the Solar Government, therefore, we will give the dregs a chance.

The fifth ship was manned by homosexuals. They lasted only six months. A ship full of lesbians bettered that by only two weeks.

Number Seven was manned by schizophrenics. Since they were already mad, they did not go crazy. Nevertheless, they did not come back. Number Eight was catatonics. Nine was paranoids. Ten was sadists. Eleven was masochists. Twelve was a mixed crew of sadists and masochists. No luck.

Maybe it was because thirteen was still a mystic number, or maybe it was merely that the Solar Government was running out of ideas. At any rate, ship Number Thirteen was the longest shot of all.

Background: From the beginnings of Man, it had been known that certain plants—mushrooms, certain cacti—produced intense hallucinations. In the mid-twentieth century, scientists—and others less scientifically minded—had begun to extract those hallucinogenic compounds, chiefly mescaline and psilocybin. The next step was the synthesis of hallucinogens—L.S.D. 25 was the first, and it was far more powerful than the extracts.

In the next few centuries, more and more different hallucinogens were synthesized—L.S.D. 105, Johannic acid, huxleyon, baronite.

So by the time the Solar Government had decided that the crew of ship Number Thirteen would attempt to cope with the terrible reality of interstellar space by denying that reality, they had quite an assortment of hallucinogens to choose from.

The one they chose was a new, as-yet-untested ("Two experiments for the price of one," explained economy-minded officials) and unbelievably complex compound tentatively called Omnidrene.

Omnidrene was what the name implied—a hallucinogen with all the properties of the others, some which had proven to be all its own, and some which were as yet unknown. As ten micrograms was one day's dose for the average man, it was the ideal hallucinogen for a starship.

So they sealed five men and five women—they had given up on sexually unbalanced crews—in ship Number Thirteen, along with half a ton of Omnidrene and their fondest wishes, pointed the ship towards Centaurus, and prayed for a miracle.

In a way they could not possibly have foreseen, they got it.

As starship Thirteen passed the orbit of Pluto, a meeting was held, since this could be considered the beginning of interstellar space.

The ship was reasonably large—ten small private cabins, a bridge that would only be used for planetfalls, large storage areas, and a big common room, where the crew had gathered.

They were sitting in All-Purpose Lounges, arranged in a circle. A few had their Lounges at full recline, but most preferred the upright position.

Oliver Brunei, the nominal captain, had just opened the first case of Omnidrene, and taken out a bottle of the tiny pills.

"This, fellow inmates," he said, "is Omnidrene. The time has come for us to indulge. The automatics are all set, we won't have to do a thing we don't want to for the next eight years."

He poured ten of the tiny blue pills into the palm of his right hand. "On Earth, they used to have some kind of traditional ceremony when a person crossed the equator for the first time. Since we are crossing a far more important equator, I thought we should have some kind of ceremony."

The crew squirmed irritably.

I do tend to be verbose, Brunei thought.

"Well ... anyway, I just thought we all oughta take the first pills together," he said, somewhat defensively.

"So come on, Ollie," said a skinny, sour-looking man of about thirty years.

"O.K., Lazar, O.K." Marashovski's gonna be trouble, Brunei thought. Why did they put him on the ship?

He handed the pills around. Lazar Marashovski was about to gulp his down.

"Wait a minute!" said Brunei. "Let's all do it together."

"One, two, three!"

They swallowed the pills. In about ten minutes, thought Brunei, we should be feeling it.

He looked at the crew. Ten of us, he thought, ten brilliant misfits. Lazar, who has spent half his life high on baronite; Vera Galindez, would-be medium, trying to make herself telepathic with mescaline; Jorge Donner.... Why is he here?

Me, at least with me it's simple—this or jail.

What a crew! Drug addicts, occultists, sensationalists ... and what else? What makes a person do a thing like this?

It'll all come out, thought Brunei. In sixteen years, it'll all come out.

"Feel anything yet, Ollie?" said Marsha Johnson. No doubt why she came along. Just an ugly old maid liking the idea of being cooped up with five men.

"Nothing yet," said Brunei.

He looked around the room. Plain steel walls, lined with cabinets full of Omnidrene on two sides, viewscreen on the ceiling, bare floor, the other two walls decked out like an automat. Plain, gray steel walls....

Then why were the gray steel walls turning pink?

"Oh, oh ..." said Joby Krail, rolling her pretty blond head, "oh, oh ... here it comes. The walls are dancing...."

"The ceiling is a spiral," muttered Vera, "a winding red spiral."

"O.K., fellow inmates," said Brunei, "it's hitting." Now the walls were red, bright fire-engine red, and they were melting. No, not melting, but evaporating....

"Like crystal it is," said Lin Pey, waving his delicate oriental hands, "like jade as transparent as crystal."

"There is a camel in the circle," said Lazar, "a brown camel."

"Let's all try and see the camel together," said Vera Galindez sharply. "Tell us what it looks like, Lazar."

"It's brown, it's the two-humped kind, it has a two-foot tail."

"And big feet," said Lin Pey.

"A stupid face," said Donner.

"Very stupid."

"Your camel is a great bore," said the stocky, scowling Bram Daker.

"Let's have something else," said Joby.

"Okay," replied Brunei, "now someone else tell what they see."

"A lizard," said Linda Tobias, a strange, somber girl, inclined to the morbid.

"A lizard?" squeaked Ingrid Solin.

"No," said Lin Pey, "a dragon. A green dragon, with a forked red tongue...."

"He has little useless wings," said Lazar.

"He is totally oblivious to us," said Vera.

Brunei saw the dragon. It was five feet long, green and scaly. It was a conventional dragon, except for the most bovine expression in its eyes....

Yes, he thought, the dragon is here. But the greater part of him knew that it was an illusion.

How long would this go on?

"It's good that we see the same things," said Marsha. "Let's always see the same things...."

"Yes."

"Yes!"

"Now a mountain, a tall blue mountain."

"With snow on the peak."

"Yes, and clouds...."

One week out:

Oliver Brunei stepped into the common room. Lin Pey, Vera, and Lazar were sitting together, on what appeared to be a huge purple toadstool.

But that's my hallucination, thought Brunei. At least, I think it is.

"Hello Ollie," said Lazar.

"Hi. What're you doing?"

"We're looking at the dragon again," said Vera. "Join us?"

Brunei thought of the dragon for a moment. The toadstool disappeared, and the by-now-familiar bovine dragon took its place. In the last few days, they had discovered that if any two of them concentrated on something long enough to "materialize" it, anyone else who wanted to could see it in a moment.

"What's so interesting about that silly dragon?" said Brunei.

"How about the camel?" said Lazar.

The dragon turned into the two-humped brown camel.

"Phooey!" said Lin Pey.

"O.K.," said Vera, "so what do you want?"

Lin Pey thought for a moment.

"How about a meadow?" he said. "A soft lawn of green grass, the sky is blue, and there are a few white clouds...."

"Clover is blooming," said Lazar. "Smell it."

Brunei reclined on the soft green grass. The smell of the earth beneath him was warm and moist. "A few apple trees here and there," he said, and there was shade.

"Look over the hill!" said Lazar. "There's the dragon!"

"Will you please get rid of that dragon?" snapped Brunei.

"O.K., Ollie, O.K."

One month out:

"Get out of the way!" yelled Brunei. He gave the dragon a kick. It mooed plaintively.

"That wasn't very nice, Ollie," said Lazar.

"That dragon is always underfoot," said Brunei. "Why don't you get rid of it?"

"I've taken a liking to it," said Lazar. "Besides, what about your Saint Bernard?"

"This ship is getting too cluttered up with everyone's hallucinations," said Brunei. "Ever since ... when was it, a week ago?... ever since we've been able to conjure 'em up by ourselves, and make everyone else see 'em."

Daker dematerialised the woman on his lap. "Why don't we get together?" he said.

"Get together?"

"Yes. We could agree on an environment. Look at this common room for example. What a mess! Here, it's a meadow, there it's a beach, a palace, a boudoir."

"You mean we should make it the same for all of us?" asked Lazar.

"Sure. We can have whatever we want in our cabins, but let's make some sense out of the common room."

"Good idea," said Brunei. "I'll call the others."

Three months out:

Brunei stepped through the stuccoed portal, and into the central Spanish garden. He noticed that the sky was blue, with a few fleecy white clouds.

But then, the weather was always good. They had agreed on it.

Lazar, Ingrid, Lin Pey and Vera were sitting on the green lawn surrounding the fountain.

Daker, Joby, Linda and Donner preferred the shade, and lounged against the white arabesqued wall which enclosed the garden on four sides, broken only by four arched entrance portals.

The garden had been a good compromise, thought Brunei. Something for everyone. Fresh air and sun-shine, but also the mental security offered by the walls, which also provided shade for those who wanted it. A fountain, a few palm trees, grass, flowers, even the little formal Japanese rock garden that Lin Pey had insisted on.

"Hello, Ollie," said Lazar. "Nice day."

"Isn't it always?" replied Brunei. "How about a little shower?"

"Maybe tomorrow."

"I notice a lot of sleeping people today," said Brunei.

"Yes," said Lin Pey. "By now, the garden seems to be able to maintain itself."

"You think it has a separate existence?" asked Ingrid.

"Of course not," said Vera. "Our subconscious minds are maintaining it. It's probably here when we're all asleep."

"No way of telling that," said Brunei. "Besides, how can it exist when we're asleep, when it doesn't really exist to begin with?"

"Semantics, Ollie, semantics."

Brunei took a bottle of Omnidrene out of his pocket. "Time to charge up the old batteries again," he said.

He passed out the pills.

"I notice Marsha is still in her cabin."

"Yeah," said Lazar, "she keeps to herself a lot. No great—"

Just then, Marsha burst into the garden, screaming: "Make it go away! Make it go away!"

Behind her slithered a gigantic black snake, with a head as big as a horse's, and bulging red eyes.

"I thought we agreed to leave our private hallucinations in our cabins," snapped Brunei.

"I tried! I tried! I don't want it around, but it won't go away! Do something!"

Ten feet of snake had already entered the garden. The thing seemed endless.

"Take it easy," said Lazar. "Let's all concentrate and think it away."

They tried to erase the snake, but it just rolled its big red eyes.

"That won't work," said Vera. "Her subconscious is still fighting us. Part of her must want the snake here. We've all got to be together to erase it."

Marsha began to cry. The snake advanced another two feet.

"Oh, quiet!" rasped Lazar. "Ollie, do I have your permission to bring my dragon into the garden? He'll make short work of the snake."

Brunei scowled. "You and your dragon.... Oh, maybe it'll work."

Instantly, the green dragon was in the garden. But it was no longer five feet long and bovine.

It was a good twelve feet long, with cold reptilian eyes and big yellow fangs.

It took one look at the snake, opened its powerful jaws, and belched a huge tongue of orange flame.

The serpent was incinerated. It disappeared.

Brunei was trembling. "What happened, Lazar?" he said. "That's not the same stupid little dragon."

"Hah ... hah...." squeaked Lazar. "He's ... uh ... grown...."

Brunei suddenly noticed that Lazar was ashen. He also noticed that the dragon was turning in their direction.

"Get it out of here, Lazar! Get it out of here!"

Lazar nodded. The dragon flickered and went pale, but it was over a minute before it disappeared entirely.

Six months out:

Things wandered the passageways and haunted the cabins. Marsha's snake was back. There was Lazar's dragon, which seemed to grow larger every day. There was also a basilisk, a pterodactyl, a vampire bat with a five-foot wingspread, an old-fashioned red spade-tailed demon and other assorted horrors.

Even Oliver Brunei's friendly Saint Bernard had grown to monstrous size, turned pale green, and grown large yellow fangs.

Only the Spanish garden in the common room was free of the monstrosities. Here, the combined conscious minds of the ten crew members were still strong enough to banish the rampaging hallucinations.

The ten of them sat around the fountain, which seemed a shade less sparkling.

There were even rainclouds in the sky.

"I don't like it," said Bram Daker. "It's getting completely out of control."

"So we just have to stay in the garden, that's all," said Brunei. "The food's all here, and so is the Omnidrene. And they can't come here."

"Not yet," said Marsha.

They all shuddered.

"What went wrong?" asked Ingrid.

"Nothing," said Donner. "They didn't know what would happen when they sent us out, so we can't say they were wrong."

"Very comforting," croaked Lazar. "But can someone tell me why we can't control them any more?"

"Who knows?" said Brunei. "At least we can keep them out of here. That's—"

There was a snuffling at the wall. The head of something like a Tyrannosaurus Rex peered over the wall at them.

"Ugh!" said Lin Pey. "I think that's a new one."

The dragon's head appeared alongside the Tyrannosaur's.

"Well, at least there's a familiar face," tittered Linda.

"Very funny."

Marsha screamed. The huge black snake thrust its head through a portal.

And the flap of leathery wings could be heard. And the smell of sulphur.

"Come on! Come on!" shouted Brunei. "Let's get these things out of here!"

After five minutes of intense group concentration, the last of the horrors was banished.

"It was a lot harder this time," said Daker.

"There were more of them," said Donner.

"They're getting stronger and bolder."

"Maybe some day they'll break through, and...." Lin Pey let the sentence hang. Everyone supplied his own ending.

"Don't be ridiculous!" snapped Brunei. "They're not real. They can't kill us!"

"Maybe we should stop taking the Omnidrene?" suggested Vera, without very much conviction.

"At this point?" said Brunei. He shuddered. "If the garden disappeared, and we had nothing but the bare ship for the next fifteen and a half years, and we knew it, and at the same time knew that we had the Omnidrene to bring it back.... How long do you think we'd hold off?"

"You're right," said Vera.

"We just have to stick it out," said Brunei. "Just remember: They can't kill us. They aren't real."

"Yes," the crew whispered in a tiny, frail voice, "they aren't real...."

Seven months out:

The garden was covered with a gloomy gray cloud layer. Even the "weather" was getting harder and harder to control.

The crew of starship Number Thirteen huddled around the fountain, staring into the water, trying desperately to ignore the snufflings, flappings, wheezes and growls coming from outside the walls. But occasionally, a scaly head would raise itself above the wall, or a pterodactyl or bat would flap overhead, and there would be violent shudders.

"I still think we should stop taking the Omnidrene," said Vera Galindez.

"If we stopped taking it," asked Brunei, "which would disappear first, them ... or the garden?"

Vera grimaced. "But we've got to do something," she said. "We can't even make them disappear at all, any more. And it's becoming a full time job just to keep them outside the walls."

"And sooner or later," interjected Lazar, "we're not going to be strong enough to keep them out...."

"Brr!"

"The snake! The snake!" screamed Marsha. "It's coming in again!"

The huge black head was already through a portal.

"Stop the snake, everyone!" yelled Brunei. Eyes were riveted on the ugly serpent, in intense concentration.

After five minutes, it was obviously a stalemate. The snake had not been able to advance, nor could the humans force it to retreat.

Then smoke began to rise behind the far wall.

"The dragon's burning down the wall!" shrieked Lazar. "Stop him!"

They concentrated on the dragon. The smoke disappeared.

But the snake began to advance again.

"They're too strong!" moaned Brunei. "We can't hold them back."

They stopped the snake for a few moments, but the smoke began to billow again.

"They're gonna break through!" screamed Donner. "We can't stop 'em!"

"What are we gonna do?"

"Help!"

Creakings, cracklings, groanings, as the walls began to crack and blister and shake.

Suddenly Bram Daker stood up, his dark eyes aflame.

"Only one thing's strong enough!" he bellowed. "Earth! Earth! EARTH! Think of Earth! All of you! We're back on Earth. Visualize it, make it real, and the monsters'll have to disappear."

"But where on Earth?" said Vera, bewildered.

"The Spaceport!" shouted Brunei. "The Spaceport! We all remember the Spaceport."

"We're back on Earth! The Spaceport!"

"Earth!"

"Earth!"

"EARTH! EARTH!"

The garden was beginning to flicker. It became red, orange, yellow, green, blue, violet, invisible; then back again through the spectrum the other way—violet, blue, green, yellow, orange, red, invisible.

Back and forth, like a pendulum through the spectrum....

Oliver Brunei's head hurt unbearably, he could see the pain on the other faces, but he allowed only one thought to fill his being—Earth! The Spaceport! EARTH!

More and more, faster and faster, the garden flickered, and now it was the old common room again, and that was flickering.

Light was flickering, mind was flickering, time, too, seemed to flicker....

Only Earth! thought Brunei. Earth doesn't flicker, the Spaceport doesn't flicker.

Earth! EARTH!

Now all the flickerings, of color, time, mind and dimensions, were coalescing into one gigantic vortex, that was a thing neither of time, nor space, nor mind, but all three somehow fused into one....

They're screaming! Brunei thought. Listen to the horrible screams! Suddenly he noticed that he, too, was screaming.

The vortex was growing, swirling, undulating, and it, too, began to flicker....

There was an unbearable, impossible pain, and....

The sight of starship Number Thirteen suddenly appearing out of nowhere, and sitting itself calmly down in the middle of the Spaceport was somewhat disconcerting to the Spaceport officials. Especially since at the very moment it appeared, and even afterward, they continued to have visual and laser contact with its image, over three light-months from Earth.

However, the Solar Government itself was much more pragmatic. One instant, starship Thirteen had been light-months from Earth, the next it was sitting in the Spaceport. Therefore, starship Thirteen had exceeded the speed of light somehow. Therefore, it was possible to exceed the speed of light, and a thorough examination of the ship and its contents would show how.

Therefore.... You idiots, throw a security cordon around that ship!

In such matters, the long-conditioned reflexes of the Solar Government worked marvelously. Before the air-waves had cooled, two hundred heavily armed soldiers had surrounded the ship.

Two hours later, the Solar co-ordinator was on the scene, with ten Orders of Sol to present to the returning heroes, and a large well-armored vehicle to convey them to laboratories, where they would be gone over with the proverbial fine-tooth comb.

An honor guard of two hundred men standing at attention made a pathway from the ship's main hatch to the armored carrier, in front of which stood the Solar Co-ordinator, with his ten medals.

They opened the hatch.

One, two, five, seven, ten dazed and bewildered "heroes" staggered past the honor guard, to face the Co-ordinator.

He opened his mouth to begin his welcoming speech, and start the five years of questioning and experiments which would eventually kill five of the crew and give Man the secret of faster-than-light drive.

But instead of speaking, he screamed.

So did two hundred heavily armed soldiers.

Because, out of starship Thirteen's main hatch sauntered a twelve-foot green dragon, followed by a Tyrannosaurus Rex, a pterodactyl, a vampire bat with a five-foot wingspan, an old-fashioned red, spade-tailed demon, and finally, big as a horse's, the pop-eyed head of an enormous black serpent....

*** END OF THE PROJECT GUTENBERG EBOOK SUBJECTIVITY ***

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

subjectivity

NORMAN SPINRAD

Illustrated by Leo Summers

THE FULL PROJECT GUTENBERG LICENSE