A SCHOLAR’S ADVENTURES IN THE COUNTRY

TRIALS OF A HOUSEKEEPER

I have a detail of very homely grievances to present; but such as they are, many a heart will feel them to be heavy—the trials of a housekeeper.

“Poh!” says one of the lords of creation, taking his cigar out of his mouth, and twirling it between his two first fingers, “what a fuss these women do make of this simple matter of managing a family! I can’t see for my life as there is anything so extraordinary to be done in this matter of housekeeping: only three meals a day to be got and cleared off—and it really seems to take up the whole of their mind from morning till night. I could keep house without so much of a flurry, I know.”

Now, prithee, good brother, listen to my story, and see how much you know about it. I came to this enlightened West about a year since, and was duly established in a comfortable country residence within a mile and a half of the city, and there commenced the enjoyment of domestic felicity. I had been married about three months, and had been, previously in love in the most approved romantic way, with all the proprieties of moonlight walks, serenades, sentimental billets doux, and everlasting attachment.

After having been allowed, as I said, about three months to get over this sort of thing, and to prepare for realities, I was located for life as aforesaid. My family consisted of myself and husband, a female friend as a visitor, and two brothers of my good man, who were engaged with him in business.

I pass over the first two or three days, spent in that process 488 of hammering boxes, breaking crockery, knocking things down and picking them up again, which is commonly called getting to housekeeping. As usual, carpets were sewed and stretched, laid down, and taken up to be sewed over; things were formed, and reformed, transformed, and conformed, till at last a settled order began to appear. But now came up the great point of all. During our confusion we had cooked and eaten our meals in a very miscellaneous and pastoral manner, eating now from the top of a barrel, and now from a fireboard laid on two chairs, and drinking, some from teacups, and some from saucers, and some from tumblers, and some from a pitcher big enough to be drowned in, and sleeping, some on sofas, and some on straggling beds and mattresses thrown down here and there wherever there was room. All these pleasant barbarities were now at an end. The house was in order, the dishes put up in their places; three regular meals were to be administered in one day, all in an orderly, civilized form; beds were to be made, rooms swept and dusted, dishes washed, knives scoured, and all the et cetera to be attended to. Now for getting “help,” as Mrs. Trollope says; and where and how were we to get it? We knew very few persons in the city; and how were we to accomplish the matter? At length the “house of employment” was mentioned; and my husband was dispatched thither regularly every day for a week, while I, in the mean time, was very nearly dispatched by the abundance of work at home. At length, one evening, as I was sitting completely exhausted, thinking of resorting to the last feminine expedient for supporting life, viz., a good fit of crying, my husband made his appearance, with a most triumphant air, at the door. “There, Margaret, I have got you a couple at last—cook and chambermaid.” So saying, he flourished open the door, and gave to my view the picture of a little, dry, snuffy-looking old woman, and a great, staring Dutch girl, in a green bonnet with red ribbons, with mouth wide 489 open, and hands and feet that would have made a Greek sculptor open his mouth too. I addressed forthwith a few words of encouragement to each of this cultivated-looking couple, and proceeded to ask their names; and forthwith the old woman began to snuffle and to wipe her face with what was left of an old silk pocket-handkerchief preparatory to speaking, while the young lady opened her mouth wider, and looked around with a frightened air, as if meditating an escape. After some preliminaries, however, I found out that my old woman was Mrs. Tibbins, and my Hebe’s name was Kotterin; also, that she knew much more Dutch than English, and not any too much of either. The old lady was the cook. I ventured a few inquiries. “Had she ever cooked?”

“Yes, ma’am, sartain; she had lived at two or three places in the city.”

“I suspect, my dear,” said my husband confidently, “that she is an experienced cook, and so your troubles are over;” and he went to reading his newspaper. I said no more, but determined to wait till morning. The breakfast, to be sure, did not do much honor to the talents of my official; but it was the first time, and the place was new to her. After breakfast was cleared away I proceeded to give directions for dinner; it was merely a plain joint of meat, I said, to be roasted in the tin oven. The experienced cook looked at me with a stare of entire vacuity. “The tin oven,” I repeated, “stands there,” pointing to it.

She walked up to it, and touched it with such an appearance of suspicion as if it had been an electrical battery, and then looked round at me with a look of such helpless ignorance that my soul was moved. “I never see one of them things before,” said she.

“Never saw a tin oven!” I exclaimed. “I thought you said you had cooked in two or three families.”

“They does not have such things as them, though,” rejoined 490 my old lady. Nothing was to be done, of course, but to instruct her into the philosophy of the case; and having spitted the joint, and given numberless directions, I walked off to my room to superintend the operations of Kotterin, to whom I had committed the making of my bed and the sweeping of my room, it never having come into my head that there could be a wrong way of making a bed; and to this day it is a marvel to me how any one could arrange pillows and quilts to make such a nondescript appearance as mine now presented. One glance showed me that Kotterin also was “just caught,” and that I had as much to do in her department as in that of my old lady.

Just then the doorbell rang. “Oh, there is the doorbell,” I exclaimed. “Run, Kotterin, and show them into the parlor.”

Kotterin started to run, as directed, and then stopped, and stood looking round on all the doors and on me with a wofully puzzled air. “The street door,” said I, pointing towards the entry. Kotterin blundered into the entry, and stood gazing with a look of stupid wonder at the bell ringing without hands, while I went to the door and let in the company before she could be fairly made to understand the connection between the ringing and the phenomenon of admission.

As dinner time approached, I sent word into my kitchen to have it set on; but recollecting the state of the heads of department there, I soon followed my own orders. I found the tin oven standing out in the middle of the kitchen, and my cook seated à la Turc in front of it, contemplating the roast meat with full as puzzled an air as in the morning. I once more explained the mystery of taking it off, and assisted her to get it on to the platter, though somewhat cooled by having been so long set out for inspection. I was standing holding the spit in my hands, when Kotterin, who had heard the doorbell ring, and was determined 491 this time to be in season, ran into the hall, and, soon returning, opened the kitchen door, and politely ushered in three or four fashionable looking ladies, exclaiming, “Here she is.” As these were strangers from the city, who had come to make their first call, this introduction was far from proving an eligible one—the look of thunderstruck astonishment with which I greeted their first appearance, as I stood brandishing the spit, and the terrified snuffling and staring of poor Mrs. Tibbins, who again had recourse to her old pocket-handkerchief, almost entirely vanquished their gravity, and it was evident that they were on the point of a broad laugh; so, recovering my self-possession, I apologized, and led the way to the parlor.

Let these few incidents be a specimen of the four mortal weeks that I spent with these “helps,” during which time I did almost as much work, with twice as much anxiety, as when there was nobody there; and yet everything went wrong besides. The young gentlemen complained of the patches of starch grimed to their collars, and the streaks of black coal ironed into their dickies, while one week every pocket-handkerchief in the house was starched so stiff that you might as well have carried an earthen plate in your pocket; the tumblers looked muddy; the plates were never washed clean or wiped dry unless I attended to each one; and as to eating and drinking, we experienced a variety that we had not before considered possible.

At length the old woman vanished from the stage, and was succeeded by a knowing, active, capable damsel, with a temper like a steel-trap, who remained with me just one week, and then went off in a fit of spite. To her succeeded a rosy, good-natured, merry lass, who broke the crockery, burned the dinner, tore the clothes in ironing, and knocked down everything that stood in her way about the house, without at all discomposing herself about the matter. One night she took the stopper from a barrel of molasses, and 492 came singing off upstairs, while the molasses ran soberly out into the cellar bottom all night, till by morning it was in a state of universal emancipation. Having done this, and also dispatched an entire set of tea things by letting the waiter fall, she one day made her disappearance.

Then, for a wonder, there fell to my lot a tidy, efficient, trained English girl; pretty, and genteel, and neat, and knowing how to do everything, and with the sweetest temper in the world. “Now,” said I to myself, “I shall rest from my labors.” Everything about the house began to go right, and looked as clean and genteel as Mary’s own pretty self. But, alas! this period of repose was interrupted by the vision of a clever, trim-looking young man, who for some weeks could be heard scraping his boots at the kitchen door every Sunday night; and at last Miss Mary, with some smiling and blushing, gave me to understand that she must leave in two weeks.

“Why, Mary,” said I, feeling a little mischievous, “don’t you like the place?”

“Oh, yes, ma’am.”

“Then why do you look for another?”

“I am not going to another place.”

“What, Mary, are you going to learn a trade?”

“No, ma’am.”

“Why, then, what do you mean to do?”

“I expect to keep house myself, ma’am,” said she, laughing and blushing.

“Oh ho!” said I, “that is it;” and so in two weeks I lost the best little girl in the world: peace to her memory.

After this came an interregnum, which put me in mind of the chapter in Chronicles that I used to read with great delight when a child, where Basha, and Elah, and Tibni, and Zimri, and Omri, one after the other, came on to the throne of Israel, all in the compass of half a dozen verses. 493 We had one old woman, who stayed a week, and went away with the misery in her tooth; one young woman, who ran away and got married; one cook, who came at night and went off before light in the morning; one very clever girl, who stayed a month, and then went away because her mother was sick; another, who stayed six weeks, and was taken with the fever herself; and during all this time, who can speak the damage and destruction wrought in the domestic paraphernalia by passing through these multiplied hands?

What shall we do? Shall we give up houses, have no furniture to take care of, keep merely a bag of meal, a porridge pot, and a pudding stick, and sit in our tent door in real patriarchal independence? What shall we do?






End of the Project Gutenberg EBook of Household Papers and Stories, by
Harriet Beecher Stowe

*** END OF THIS PROJECT GUTENBERG EBOOK HOUSEHOLD PAPERS AND STORIES ***

***** This file should be named 31217-h.htm or 31217-h.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.org/3/1/2/1/31217/

Produced by David Edwards, Katherine Ward, and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
book was produced from scanned images of public domain
material from the Google Print project.)


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.net/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.org.


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org


Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations.  To donate, please visit: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.


Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.


Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.net

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.


367 of 378
12 pages left
CONTENTS
Chapters
Highlights