The Eternal Wall
Date: 2008-10-30T00:00:00+00:00
Keywords: Science fiction; Short stories

The Project Gutenberg eBook of The Eternal Wall

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: The Eternal Wall

Author: Raymond Z. Gallun

Release date: October 31, 2008 [eBook #27110]
Most recently updated: January 4, 2021

Language: English

Credits: Produced by Greg Weeks, Stephen Blundell and the Online
Distributed Proofreading Team at https://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE ETERNAL WALL ***

THE
ETERNAL
WALL

By RAYMOND Z. GALLUN

A scream of brakes, the splash into icy waters, a long descent into alkaline depths ... it was death. But Ned Vince lived again—a million years later!

"See you in half an hour, Betty," said Ned Vince over the party telephone. "We'll be out at the Silver Basket before ten-thirty...."

Ned Vince was eager for the company of the girl he loved. That was why he was in a hurry to get to the neighboring town of Hurley, where she lived. His old car rattled and roared as he swung it recklessly around Pit Bend.

There was where Death tapped him on the shoulder. Another car leaped suddenly into view, its lights glaring blindingly past a high, up-jutting mass of Jurassic rock at the turn of the road.

Dazzled, and befuddled by his own rash speed, Ned Vince had only swift young reflexes to rely on to avoid a fearful, telescoping collision. He flicked his wheel smoothly to the right; but the County Highway Commission hadn't yet tarred the traffic-loosened gravel at the Bend.

An incredible science, millions of years old, lay in the minds of these creatures.

Ned could scarcely have chosen a worse place to start sliding and spinning. His car hit the white-painted wooden rail sideways, crashed through, tumbled down a steep slope, struck a huge boulder, bounced up a little, and arced outward, falling as gracefully as a swan-diver toward the inky waters of the Pit, fifty feet beneath....

Ned Vince was still dimly conscious when that black, quiet pool geysered around him in a mighty splash. He had only a dazing welt on his forehead, and a gag of terror in his throat.

Movement was slower now, as he began to sink, trapped inside his wrecked car. Nothing that he could imagine could mean doom more certainly than this. The Pit was a tremendously deep pocket in the ground, spring-fed. The edges of that almost bottomless pool were caked with a rim of white—for the water, on which dead birds so often floated, was surcharged with alkali. As that heavy, natronous liquid rushed up through the openings and cracks beneath his feet, Ned Vince knew that his friends and his family would never see his body again, lost beyond recovery in this abyss.

The car was deeply submerged. The light had blinked out on the dash-panel, leaving Ned in absolute darkness. A flood rushed in at the shattered window. He clawed at the door, trying to open it, but it was jammed in the crash-bent frame, and he couldn't fight against the force of that incoming water. The welt, left by the blow he had received on his forehead, put a thickening mist over his brain, so that he could not think clearly. Presently, when he could no longer hold his breath, bitter liquid was sucked into his lungs.

His last thoughts were those of a drowning man. The machine-shop he and his dad had had in Harwich. Betty Moore, with the smiling Irish eyes—like in the song. Betty and he had planned to go to the State University this Fall. They'd planned to be married sometime.... Goodbye, Betty ...

The ripples that had ruffled the surface waters in the Pit, quieted again to glassy smoothness. The eternal stars shone calmly. The geologic Dakota hills, which might have seen the dinosaurs, still bulked along the highway. Time, the Brother of Death, and the Father of Change, seemed to wait....

"Kaalleee! Tik!... Tik, tik, tik!... Kaalleee!..."

The excited cry, which no human throat could quite have duplicated accurately, arose thinly from the depths of a powder-dry gulch, water-scarred from an inconceivable antiquity. The noon-day Sun was red and huge. The air was tenuous, dehydrated, chill.

"Kaalleee!... Tik, tik, tik!..."

At first there was only one voice uttering those weird, triumphant sounds. Then other vocal organs took up that trilling wail, and those short, sharp chuckles of eagerness. Other questioning, wondering notes mixed with the cadence. Lacking qualities identifiable as human, the disturbance was still like the babble of a group of workmen who have discovered something remarkable.

The desolate expanse around the gulch, was all but without motion. The icy breeze tore tiny puffs of dust from grotesque, angling drifts of soil, nearly waterless for eons. Patches of drab lichen grew here and there on the up-jutting rocks, but in the desert itself, no other life was visible. Even the hills had sagged away, flattened by incalculable ages of erosion.

At a mile distance, a crumbling heap of rubble arose. Once it had been a building. A gigantic, jagged mass of detritus slanted upward from its crest—red debris that had once been steel. A launching catapult for the last space ships built by the gods in exodus, perhaps it was—half a million years ago. Man was gone from the Earth. Glacial ages, war, decadence, disease, and a final scattering of those ultimate superhumans to newer worlds in other solar systems, had done that.

"Kaalleee!... Tik, tik, tik!..." The sounds were not human. They were more like the chatter and wail of small desert animals.

But there was a seeming paradox here in the depths of that gulch, too. The glint of metal, sharp and burnished. The flat, streamlined bulk of a flying machine, shiny and new. The bell-like muzzle of a strange excavator-apparatus, which seemed to depend on a blast of atoms to clear away rock and soil. Thus the gulch had been cleared of the accumulated rubbish of antiquity. Man, it seemed, had a successor, as ruler of the Earth.

Loy Chuk had flown his geological expedition out from the far lowlands to the east, out from the city of Kar-Rah. And he was very happy now—flushed with a vast and unlooked-for success.

He crouched there on his haunches, at the dry bottom of the Pit. The breeze rumpled his long, brown fur. He wasn't very different in appearance from his ancestors. A foot tall, perhaps, as he squatted there in that antique stance of his kind. His tail was short and furred, his undersides creamy. White whiskers spread around his inquisitive, pink-tipped snout.

But his cranium bulged up and forward between shrewd, beady eyes, betraying the slow heritage of time, of survival of the fittest, of evolution. He could think and dream and invent, and the civilization of his kind was already far beyond that of the ancient Twentieth Century.

Loy Chuk and his fellow workers were gathered, tense and gleeful, around the things their digging had exposed to the daylight. There was a gob of junk—scarcely more than an irregular formation of flaky rust. But imbedded in it was a huddled form, brown and hard as old wood. The dry mud that had encased it like an airtight coffin, had by now been chipped away by the tiny investigators; but soiled clothing still clung to it, after perhaps a million years. Metal had gone into decay—yes. But not this body. The answer to this was simple—alkali. A mineral saturation that had held time and change in stasis. A perfect preservative for organic tissue, aided probably during most of those passing eras by desert dryness. The Dakotas had turned arid very swiftly. This body was not a mere fossil. It was a mummy.

"Kaalleee!" Man, that meant. Not the star-conquering demi-gods, but the ancestral stock that had built the first machines on Earth, and in the early Twenty-first Century, the first interplanetary rockets. No wonder Loy Chuk and his co-workers were happy in their paleontological enthusiasm! A strange accident, happening in a legendary antiquity, had aided them in their quest for knowledge.

At last Loy Chuk gave a soft, chirping signal. The chant of triumph ended, while instruments flicked in his tiny hands. The final instrument he used to test the mummy, looked like a miniature stereoscope, with complicated details. He held it over his eyes. On the tiny screen within, through the agency of focused X-rays, he saw magnified images of the internal organs of this ancient human corpse.

What his probing gaze revealed to him, made his pleasure even greater than before. In twittering, chattering sounds, he communicated his further knowledge to his henchmen. Though devoid of moisture, the mummy was perfectly preserved, even to its brain cells! Medical and biological sciences were far advanced among Loy Chuk's kind. Perhaps, by the application of principles long known to them, this long-dead body could be made to live again! It might move, speak, remember its past! What a marvelous subject for study it would make, back there in the museums of Kar-Rah!

"Tik, tik, tik!..."

But Loy silenced this fresh, eager chattering with a command. Work was always more substantial than cheering.

With infinite care—small, sharp hand-tools were used, now—the mummy of Ned Vince was disengaged from the worthless rust of his primitive automobile. With infinite care it was crated in a metal case, and hauled into the flying machine.

Flashing flame, the latter arose, bearing the entire hundred members of the expedition. The craft shot eastward at bullet-like speed. The spreading continental plateau of North America seemed to crawl backward, beneath. A tremendous sand desert, marked with low, washed-down mountains, and the vague, angular, geometric mounds of human cities that were gone forever.

Beyond the eastern rim of the continent, the plain dipped downward steeply. The white of dried salt was on the hills, but there was a little green growth here, too. The dead sea-bottom of the vanished Atlantic was not as dead as the highlands.

Far out in a deep valley, Kar-Rah, the city of the rodents, came into view—a crystalline maze of low, bubble-like structures, glinting in the red sunshine. But this was only its surface aspect. Loy Chuk's people had built their homes mostly underground, since the beginning of their foggy evolution. Besides, in this latter day, the nights were very cold, the shelter of subterranean passages and rooms was welcome.

The mummy was taken to Loy Chuk's laboratory, a short distance below the surface. Here at once, the scientist began his work. The body of the ancient man was put in a large vat. Fluids submerged it, slowly soaking from that hardened flesh the alkali that had preserved it for so long. The fluid was changed often, until woody muscles and other tissues became pliable once more.

Then the more delicate processes began. Still submerged in liquid, the corpse was submitted to a flow of restorative energy, passing between complicated electrodes. The cells of antique flesh and brain gradually took on a chemical composition nearer to that of the life that they had once known.

At last the final liquid was drained away, and the mummy lay there, a mummy no more, but a pale, silent figure in its tatters of clothing. Loy Chuk put an odd, metal-fabric helmet on its head, and a second, much smaller helmet on his own. Connected with this arrangement, was a black box of many uses. For hours he worked with his apparatus, studying, and guiding the recording instruments. The time passed swiftly.

At last, eager and ready for whatever might happen now, Loy Chuk pushed another switch. With a cold, rosy flare, energy blazed around that moveless form.

For Ned Vince, timeless eternity ended like a gradual fading mist. When he could see clearly again, he experienced that inevitable shock of vast change around him. Though it had been dehydrated, his brain had been kept perfectly intact through the ages, and now it was restored. So his memories were as vivid as yesterday.

Yet, through that crystalline vat in which he lay, he could see a broad, low room, in which he could barely have stood erect. He saw instruments and equipment whose weird shapes suggested alienness, and knowledge beyond the era he had known! The walls were lavender and phosphorescent. Fossil bone-fragments were mounted in shallow cases. Dinosaur bones, some of them seemed, from their size. But there was a complete skeleton of a dog, too, and the skeleton of a man, and a second man-skeleton that was not quite human. Its neck-vertebrae were very thick and solid, its shoulders were wide, and its skull was gigantic.

All this weirdness had a violent effect on Ned Vince—a sudden, nostalgic panic. Something was fearfully wrong!

The nervous terror of the unknown was on him. Feeble and dizzy after his weird resurrection, which he could not understand, remembering as he did that moment of sinking to certain death in the pool at Pit Bend, he caught the edge of the transparent vat, and pulled himself to a sitting posture. There was a muffled murmur around him, as of some vast, un-Earthly metropolis.

"Take it easy, Ned Vince...."

The words themselves, and the way they were assembled, were old, familiar friends. But the tone was wrong. It was high, shrill, parrot-like, and mechanical. Ned's gaze searched for the source of the voice—located the black box just outside of his crystal vat. From that box the voice seemed to have originated. Before it crouched a small, brownish animal with a bulging head. The animal's tiny-fingered paws—hands they were, really—were touching rows of keys.

To Ned Vince, it was all utterly insane and incomprehensible. A rodent, looking like a prairie dog, a little; but plainly possessing a high order of intelligence. And a voice whose soothingly familiar words were more repugnant somehow, simply because they could never belong in a place as eerie as this.

Ned Vince did not know how Loy Chuk had probed his brain, with the aid of a pair of helmets, and the black box apparatus. He did not know that in the latter, his language, taken from his own revitalized mind, was recorded, and that Loy Chuk had only to press certain buttons to make the instrument express his thoughts in common, long-dead English. Loy, whose vocal organs were not human, would have had great difficulty speaking English words, anyway.

Ned's dark hair was wildly awry. His gaunt, young face held befuddled terror. He gasped in the thin atmosphere. "I've gone nuts," he pronounced with a curious calm. "Stark—starin'—nuts...."

Loy's box, with its recorded English words and its sonic detectors, could translate for its master, too. As the man spoke, Loy read the illuminated symbols in his own language, flashed on a frosted crystal plate before him. Thus he knew what Ned Vince was saying.

Loy Chuk pressed more keys, and the box reproduced his answer: "No, Ned, not nuts. Not a bit of it! There are just a lot of things that you've got to get used to, that's all. You drowned about a million years ago. I discovered your body. I brought you back to life. We have science that can do that. I'm Loy Chuk...."

It took only a moment for the box to tell the full story in clear, bold, friendly terms. Thus Loy sought, with calm, human logic, to make his charge feel at home. Probably, though, he was a fool, to suppose that he could succeed, thus.

Vince started to mutter, struggling desperately to reason it out. "A prairie dog," he said. "Speaking to me. One million years. Evolution. The scientists say that people grew up from fishes in the sea. Prairie dogs are smart. So maybe super-prairie-dogs could come from them. A lot easier than men from fish...."

It was all sound logic. Even Ned Vince knew that. Still, his mind, tuned to ordinary, simple things, couldn't quite realize all the vast things that had happened to himself, and to the world. The scope of it all was too staggeringly big. One million years. God!...

Ned Vince made a last effort to control himself. His knuckles tightened on the edge of the vat. "I don't know what you've been talking about," he grated wildly. "But I want to get out of here! I want to go back where I came from! Do you understand—whoever, or whatever you are?"

Loy Chuk pressed more keys. "But you can't go back to the Twentieth Century," said the box. "Nor is there any better place for you to be now, than Kar-Rah. You are the only man left on Earth. Those men that exist in other star systems are not really your kind anymore, though their forefathers originated on this planet. They have gone far beyond you in evolution. To them you would be only a senseless curiosity. You are much better off with my people—our minds are much more like yours. We will take care of you, and make you comfortable...."

But Ned Vince wasn't listening, now. "You are the only man left on Earth." That had been enough for him to hear. He didn't more than half believe it. His mind was too confused for conviction about anything. Everything he saw and felt and heard might be some kind of nightmare. But then it might all be real instead, and that was abysmal horror. Ned was no coward—death and danger of any ordinary Earthly kind, he could have faced bravely. But the loneliness here, and the utter strangeness, were hideous like being stranded alone on another world!

His heart was pounding heavily, and his eyes were wide. He looked across this eerie room. There was a ramp there at the other side, leading upward instead of a stairway. Fierce impulse to escape this nameless lair, to try to learn the facts for himself, possessed him. He bounded out of the vat, and with head down, dashed for the ramp.

He had to go most of the way on his hands and knees, for the up-slanting passage was low. Excited animal chucklings around him, and the occasional touch of a furry body, hurried his feverish scrambling. But he emerged at last at the surface.

He stood there panting in that frigid, rarefied air. It was night. The Moon was a gigantic, pock-marked bulk. The constellations were unrecognizable. The rodent city was a glowing expanse of shallow, crystalline domes, set among odd, scrub trees and bushes. The crags loomed on all sides, all their jaggedness lost after a million years of erosion under an ocean that was gone. In that ghastly moonlight, the ground glistened with dry salt.

"Well, I guess it's all true, huh?" Ned Vince muttered in a flat tone.

Behind him he heard an excited, squeaky chattering. Rodents in pursuit. Looking back, he saw the pinpoint gleams of countless little eyes. Yes, he might as well be an exile on another planet—so changed had the Earth become.

A wave of intolerable homesickness came over him as he sensed the distances of time that had passed—those inconceivable eons, separating himself from his friends, from Betty, from almost everything that was familiar. He started to run, away from those glittering rodent eyes. He sensed death in that cold sea-bottom, but what of it? What reason did he have left to live? He'd be only a museum piece here, a thing to be caged and studied....

Prison or a madhouse would be far better. He tried to get hold of his courage. But what was there to inspire it? Nothing! He laughed harshly as he ran, welcoming that bitter, killing cold. Nostalgia had him in its clutch, and there was no answer in his hell-world, lost beyond the barrier of the years....

Loy Chuk and his followers presently came upon Ned Vince's unconscious form, a mile from the city of Kar-Rah. In a flying machine they took him back, and applied stimulants. He came to, in the same laboratory room as before. But he was firmly strapped to a low platform this time, so that he could not escape again. There he lay, helpless, until presently an idea occurred to him. It gave him a few crumbs of hope.

"Hey, somebody!" he called.

"You'd better get some rest, Ned Vince," came the answer from the black box. It was Loy Chuk speaking again.

"But listen!" Ned protested. "You know a lot more than we did in the Twentieth Century. And—well—there's that thing called time-travel, that I used to read about. Maybe you know how to make it work! Maybe you could send me back to my own time after all!"

Little Loy Chuk was in a black, discouraged mood, himself. He could understand the utter, sick dejection of this giant from the past, lost from his own kind. Probably insanity looming. In far less extreme circumstances than this, death from homesickness had come.

Loy Chuk was a scientist. In common with all real scientists, regardless of the species from which they spring, he loved the subjects of his researches. He wanted this ancient man to live and to be happy. Or this creature would be of scant value for study.

So Loy considered carefully what Ned Vince had suggested. Time-travel. Almost a legend. An assault upon an intangible wall that had baffled far keener wits than Loy's. But he was bent, now, on the well-being of this anachronism he had so miraculously resurrected—this human, this Kaalleee....

Loy jabbed buttons on the black box. "Yes, Ned Vince," said the sonic apparatus. "Time-travel. Perhaps that is the only thing to do—to send you back to your own period of history. For I see that you will never be yourself, here. It will be hard to accomplish, but we'll try. Now I shall put you under an anesthetic...."

Ned felt better immediately, for there was real hope now, where there had been none before. Maybe he'd be back in his home-town of Harwich again. Maybe he'd see the old machine-shop, there. And the trees greening out in Spring. Maybe he'd be seeing Betty Moore in Hurley, soon.... Ned relaxed, as a tiny hypo-needle bit into his arm....

As soon as Ned Vince passed into unconsciousness, Loy Chuk went to work once more, using that pair of brain-helmets again, exploring carefully the man's mind. After hours of research, he proceeded to prepare his plans. The government of Kar-Rah was a scientific oligarchy, of which Loy was a prime member. It would be easy to get the help he needed.

A horde of small, grey-furred beings and their machines, toiled for many days.

Ned Vince's mind swam gradually out of the blur that had enveloped it. He was wandering aimlessly about in a familiar room. The girders of the roof above were of red-painted steel. His tool-benches were there, greasy and littered with metal filings, just as they had always been. He had a tractor to repair, and a seed-drill. Outside of the machine-shop, the old, familiar yellow sun was shining. Across the street was the small brown house, where he lived.

With a sudden startlement, he saw Betty Moore in the doorway. She wore a blue dress, and a mischievous smile curved her lips. As though she had succeeded in creeping up on him, for a surprise.

"Why, Ned," she chuckled. "You look as though you've been dreaming, and just woke up!"

He grimaced ruefully as she approached. With a kind of fierce gratitude, he took her in his arms. Yes, she was just like always.

"I guess I was dreaming, Betty," he whispered, feeling that mighty sense of relief. "I must have fallen asleep at the bench, here, and had a nightmare. I thought I had an accident at Pit Bend—and that a lot of worse things happened.... But it wasn't true ..."

Ned Vince's mind, over which there was still an elusive fog that he did not try to shake off, accepted apparent facts simply.

He did not know anything about the invisible radiations beating down upon him, soothing and dimming his brain, so that it would never question or doubt, or observe too closely the incongruous circumstances that must often appear. The lack of traffic in the street without, for instance—and the lack of people besides himself and Betty.

He didn't know that this machine-shop was built from his own memories of the original. He didn't know that this Betty was of the same origin—a miraculous fabrication of metal and energy-units and soft plastic. The trees outside were only lantern-slide illusions.

It was all built inside a great, opaque dome. But there were hidden television systems, too. Thus Loy Chuk's kind could study this ancient man—this Kaalleee. Thus, their motives were mostly selfish.

Loy, though, was not observing, now. He had wandered far out into cold, sad sea-bottom, to ponder. He squeaked and chatted to himself, contemplating the magnificent, inexorable march of the ages. He remembered the ancient ruins, left by the final supermen.

"The Kaalleee believes himself home," Loy was thinking. "He will survive and be happy. But there was no other way. Time is an Eternal Wall. Our archeological researches among the cities of the supermen show the truth. Even they, who once ruled Earth, never escaped from the present by so much as an instant...."

THE END

PRINTED IN U. S. A.

Transcriber's Note: This etext was produced from Amazing Stories April 1956 and was first published in Amazing Stories November 1942. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Minor spelling and typographical errors have been corrected without note.

*** END OF THE PROJECT GUTENBERG EBOOK THE ETERNAL WALL ***

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

- THE ETERNAL WALL

- THE FULL PROJECT GUTENBERG LICENSE