Download the full version of the ebook now at ebookgrade.

com

Far From the Tree Parents Children and the

Search for Identity

https://ebookgrade.com/product/far-from-the-tree-
parents-children-and-the-search-for-identity/

Explore and download more ebook at https://ebookgrade.com

 Recommended digital products (PDF, EPUB, MOBI) that
you can download immediately if you are interested.

Parenting Gifted Children The Authoritative Guide From the

National Association for Gifted Children

https://ebookgrade.com/product/parenting-gifted-children-the-
authoritative-guide-from-the-national-association-for-gifted-children/

ebookgrade.com

Effect of Children on Parents (Haworth Marriage and the

Family) 2nd Anne Marie Ambert The

https://ebookgrade.com/product/effect-of-children-on-parents-haworth-
marriage-and-the-family-2nd-anne-marie-ambert-the/

ebookgrade.com

Gardener and the Carpenter What the New Science of Child

Development Tells Us About the Relationship Between
Parents and Children The
https://ebookgrade.com/product/gardener-and-the-carpenter-what-the-
new-science-of-child-development-tells-us-about-the-relationship-
between-parents-and-children-the/
ebookgrade.com

1 2 3 Magic for Christian Parents Effective Discipline for

Children 2 12

https://ebookgrade.com/product/1-2-3-magic-for-christian-parents-
effective-discipline-for-children-2-12/

ebookgrade.com
Planet Factory Exoplanets and the Search for a Second
Earth The

https://ebookgrade.com/product/planet-factory-exoplanets-and-the-
search-for-a-second-earth-the/

ebookgrade.com

Teaching Children With Autism to Mind Read A Practical

Guide for Teachers and Parents

https://ebookgrade.com/product/teaching-children-with-autism-to-mind-
read-a-practical-guide-for-teachers-and-parents/

ebookgrade.com

Old Friend from Far Away The Practice of Writing Memoir

Natalie Goldberg Natalie Goldberg

https://ebookgrade.com/product/old-friend-from-far-away-the-practice-
of-writing-memoir-natalie-goldberg-natalie-goldberg/

ebookgrade.com

Book You Wish Your Parents Had Read (and Your Children
Will Be Glad That You Did) The

https://ebookgrade.com/product/book-you-wish-your-parents-had-read-
and-your-children-will-be-glad-that-you-did-the/

ebookgrade.com
Other documents randomly have
different content
the wife? she answered that she thought her radiantly pretty. To the
question, What did she think of the hat? she less truthfully vowed it
charming. To his account of how and why the marriage had been
hastened on, she lent an interested attention, and when he and
Rose had been made thoroughly happy by her charming
appreciation of everything, and the promise of a present to come,
they left: Rose returning to say hurriedly that she was so sorry she
had forgotten the cake. It was coming! She hoped Mrs. Sloane had
not thought her rude. “I only sent Mr. Maitland’s to-day. I hope he
won’t think me rude not having sent it at once. He of all people in the
world—I should never forget.”
Mrs. Sloane was quite sure Mr. Maitland would not think her rude.
Then she turned to Miles, wondering what he would say. She knew
exactly what Marcus would have said—about the hat.
“Happy young things,” said Miles, despatching them from his mind
with a smile. Then he leant forward, as though some thought had
suddenly struck him. “About those conditions you have exacted,” he
said; “supposing certain contingencies should arise, must I—am I in
honour bound—to leave this—person of whom you are very fond
when I have seen her into the train that takes her on—you know
where?”
“That was one of my conditions! You accepted it!”
“Yes, and I mean to abide by it—but supposing—I only say
supposing—it is more than I can bear; the separation, I mean; may I
at the last moment jump into the guard’s van, if I don’t let her know
I’m on the train? It’s only a remote possibility, but I might feel unable
to abide by your condition.”
“You promised to—”
“And I mean to—but if I give my word of honour I can’t break it—
therefore, I only want your permission to do this in circumstances
over which I might possibly have no control: if, let us say, she should
look so beautiful that I lost my head—if by chance, let us say, she
should smile at me—you know how she does smile—I suppose you
do—! Well, may I use my own judgment? It only means that I shall
be in the same train. I won’t speak to her or let her see me?”
“Under very exceptional circumstances—and I leave it to your
sense of honour not to make them exceptional—you may travel in
the guard’s van—without letting her know you are there.” And Mrs.
Sloane, looking at him, shook her head as old women will do in
affectionate despair at those young people of whom they most
particularly approve.
 XXII

The best man on the train may be the

guard in the van—make friends with him.

I T was not so easy for Miles to hide himself at Euston Station as

Mrs. Sloane had seemed to imagine. He was one of those who
show in a crowd, being bigger than most, and, according to his
mother, handsomer. And he was a little reckless until he had seen
the object of his search. Once he had seen Diana walk down the
platform with her chin in the air, as was her habit, approved by her
uncle, who thought she walked as a woman should walk, and as few
did, he was more cautious, and dodged behind mountains of
luggage, but never losing sight of the figure in blue tweed. She wore
her hat well pulled down over her eyes, and he was glad. Once his
he would want the whole world to see her, but till then he would have
all men blind to her beauty. He bet himself five shillings she would
buy “Blackwood” at the bookstall, and she bought it. Feeling himself
the richer of five shillings—he held himself justified in giving it to the
porter who was looking after her luggage: then he committed her to
the care of the guard, and he asked nothing of the guard he was not
ready to pay for. At the last moment he took possession of his
sleeping-compartment within a few doors of Diana’s. Then he
committed her into God’s safe keeping for the night—the guard on
the train and God in Heaven; she must be safe. To the guard he had
offered money—to God he offered the rest of his life if He would only
give him Diana, to take care of—forever. Was it irreverent? Far from
it, never in his life had he felt more humbly reverent.
Diana as she travelled thought how different it had been so short a
time ago when she had travelled up with Uncle Marcus. Now there
was nothing to look forward to and everything to dread. Shan’t might
be dangerously ill! That she might not recover Diana would not have
admitted even to herself. But there was the feeling underneath
everything that life might not give her all she had asked of it. The
thought was disquieting because she had asked of it only what she
must have! Diana was young and she slept—although she had been
certain she could not sleep—and she awoke in Scotland, and
Scotland is Scotland and must not be denied. She demands, at
least, that the traveller shall look out and wonder at her beauty. So
Diana dressed and went out into the corridor and looked down into
the glens, rushing past; on to the rowans, red with berries, and up to
the torrents of water that streamed down the mountain-sides. Life,
after all, could not cheat her. The morning sang aloud for very joy;
not only the burns and the waterfalls, but everything sang.
Then she discovered she was hungry and she was certain she
could never get a breakfast-basket. Arrived at the station, where
these things are to be had, for those who have the forethought to
order them, she looked out of the window, and the first thing she saw
was Miles Hastings striding towards her—followed by a man carrying
two breakfast-baskets.
“You!” she exclaimed. “How did you get here?”
“By train, just as you did,” he answered. “I knew your father
wouldn’t like it if you didn’t have your breakfast properly. You see my
duties don’t end when I land in England. Will you come to another
carriage? It’s not very nice eating in a sleeping-berth, is it? Will you
come? I have reserved a compartment. This most excellent man
bears baps and bacon and eggs and marmalade and tea. Coming?”
Diana was already coming, curiosity, if nothing else, compelling
her. How had he really come? She had little dreamed that all night
he had been so close to her: that every time the train had stopped at
a station he had mounted guard outside her door.
“Don’t talk until you have had breakfast,” he said; “then I want to
talk to you very seriously—don’t look so adorable, because it upsets
me. I never imagined any one could look so clean as you look after a
journey.”
 “And you have shaved, haven’t you?” she asked; and he laughed
and said he wouldn’t be her father’s A.D.C. if he hadn’t. Then he
assured her—“Shan’t is going to get quite well. I read up concussion,
before I didn’t go to sleep last night. Don’t ask any questions! Never
ask me to explain why I am here, because it cannot be explained
except that there are more angels on this earth than even Heaven
knows of. I always knew there was one—go on eating.”
Diana reminded him that angels did not eat, but in spite of that he
begged her to have some more. She couldn’t eat two eggs? Had she
ever tried? She couldn’t remember that she had. Not even after
hunting? No? They were dull things to talk about, anyhow! Should he
put the baskets under the seat? He put them under the seat.
“Now tell me?” he said.
“Tell you what?” she asked.
“Why did he call you Diana?” Of enormous importance this: it had
weighed on his heart for days, or weeks was it?
“Who?” asked Diana.
“Do you really not know?”
She said so many people had called her by her name: so few
people called her by any one else’s. She mightn’t have answered to
Caroline if he—whoever he was—had called her that. Then she
added: “It’s quite a nice name, though, isn’t it? It’s a stately name.”
“Diana—do be nice to me,” he pleaded.
“Call me Caroline, and see.”
He called her Caroline, and she put out her hand and withdrew it.
“Diana,” he said, “don’t tease me.”
“If he—whoever he was—had called me Caroline you wouldn’t
have minded?”
“If he had said Caroline had sent him to fetch me off the island, I
shouldn’t have known who in the world Caroline was.”
“It was then he called me Diana, was it?”
 “Yes, it was then.”
“How dared he spoil everything?”
“He did spoil everything; you admit it; then you were happy?”—this
triumphantly. It was an admission on her part.
He was so desperately anxious she should admit she had been
happy; but she was in a distracting and provoking mood. Why should
she smile at the hills and not at him? “Were you happy, Diana? Tell
me.”
She nodded.
He wanted to know just how happy? Had she been as happy as
he had been? It was not possible. She had not prayed for him every
night as he had prayed for her—she could not say she had?
No, she could not; she had never even thought of him. But after
they had met, he pleaded—then—had she not thought of him? They
must compare notes. She vowed her notes were so lightly pencilled
on her memory, she could hardly read them—a thought here,
another there.
His notes were indelibly written on his heart. The first time he had
seen her was one. He told her what he had thought of her. What had
she thought of him? She wouldn’t say. Driven to say something, she
confessed she had thought him—tall—yes, tall for his age....
“Darling, don’t look out of the window. I know your little nose by
heart—I love your profile—but tell me, do you remember anything
else, I mean what you thought of me—it sounds so conceited to
imagine for one moment that you thought anything—but if you did
—?”
“Let me think—don’t disturb me!” She shut her eyes, and said, “I
will try to remember.”
He waited. Was she really going to sleep? If he had been Uncle
Marcus he would have been taken in; being more modern, he was
not, but he had never seen her asleep and she looked so lovely that
he let her sleep on, which was not in the least what she had
expected; moreover, it was very dull, so she opened her eyes and
asked if she had been asleep? And when he said, “No,” she vowed
to herself this was no man to marry lightly—too unerring an intuition
was his.
“Will you always know what I am thinking and feeling?” she asked.
He doubted it. He never knew of what she was thinking or what
she was feeling. “Tell me something of what you feel.” And she told
him how hungry she had felt when she had travelled south, from
Loch Bossie, and what a comfort the parcel had been, how glad she
had been to see the cocoanut shells.
“Why?” he asked.
Because, she said, she thought—as he had condescended to a
joke—a bad one, of course, but a joke—it showed he could not be so
angry with her after all.
“And that comforted you?” Another admission, this!
“Yes, it comforted me.”
“Then you must have minded my being angry with you?”
Diana smiled at him. He was too, too clever.
Then he wanted to know about the parcel. How had she got it?
Because he had wanted it—he had told Pillar so. “I wanted to keep
it,” he said, “and some day I was going to pay you out—when you
were hungry—on our honeymoon.” She let this pass unchallenged.
“Diana, did you understand what I said?”
“Why should you have wanted to pay me out? Did you mind being
left on the island?” She ignored the honeymoon.
And he said, of course he had minded. If she had stayed with him,
he would have loved it. As it was, he had had no one to love but
Robinson; he could not imagine what he would have done without
Robinson, he had been so sympathetic and—jolly.
Diana wasn’t particularly interested in Robinson. She wanted to
know more about that loneliness from which Miles had suffered so
acutely. On that he would not dwell, but rather on the happiness of
being on a desert island alone with Diana—some day! Wouldn’t she
love it? She thought so, but suggested that if Pillar came too it might
be more comfortable. He admitted it, accusing her of being a
sybarite.
“You would never enjoy roughing it. You are meant to walk on red
carpets—oh—that fatal snare of the red carpet! You shall walk on it
some day—but just for once let’s go to a desert island. Have you
ever imagined what it would be?”
Then Diana turned her face from the window to look at Miles, and
she asked him if they had not both been on a desert island—each on
their own—the last few days—or was it years? And Miles, seeing in
her eyes the smile she had kept throughout the journey for
mountains and burns, jumped to a glorious conclusion.
“You mean that the whole world is a desert island if we are not
together?”
And that was just what she did mean, although she had not been
able to express it. She had hesitated to put it into words, and now
that she found the courage she found no words and she discovered,
like many another before her, that they are but dumb things after all:
that there are other ways and better ways of saying things: that
nothing is so expressive as a silence, nothing tells so much or tells it
so tenderly—that is, if it be a happy silence. The unbroken silence of
misunderstanding is another thing.
“Now tell me,” she said, “what you want to say—I will be very
serious.”
Miles had only to pass on the message the old woman had given
him over the low stone wall, on his way to Glenbossie. In her Gaelic-
spoken message she had given him the eternally old message, and
though he “had not Gaelic,” he had understood it, because she had
spoken in the universal language. A lover’s language may be as new
as the morning; it is also as old as the hills. And that old woman had
not forgotten the days of her youth, and why? Because the sun was
in the heavens, by day, to remind her: the stars in the sky at night:
the burn on the hillside: the heather on the moor: the little children
passing by—tender reminders, these. Even the rain must re-awaken
memories of the enfolded plaid: the peat smoke bring back
memories of evenings when the day was past and over, the harvest
gathered in, and the bairns asleep.
As with Dick and his mother the parting lay like a weight on the
hearts of Miles and Diana. When she said it would not be for long, he
laughed. She little knew how short a time it might be, or that it rested
with her to make it short or interminable. He had promised to leave
her when he had seen her into the train which should take her on to
Loch Bossie and he saw her into that train. When she asked him
why he didn’t come on with her, he said it was against orders.
Against whose? she wanted to know. He would not tell her. She
asked him if he should go south that night?
And he said he should go to Glenbossie by the next train.
“Why not by this?”
Because, he said, he had promised not to go by her train unless
something should happen to make him alter his plans.
The dear old lady would have been more human if she had not
made this impossible condition, he thought, but she had made it.
“Diana?” he said.
“What?”
“You have never told me.”
“No—”
“Won’t you?”
She shook her head. There wasn’t time—it would take years—the
train was going—it was off—Miles was left on the platform.
Then Diana looked out of the carriage window, smiled at him, and
drew back—and with one stride Miles was on the step of the guard’s
van—
Having made friends with the guard, which was not difficult, he sat
down to write to Mrs. Sloane. He sat on a stout wooden box, which,
according to the label, belonged to one Christina MacDonald. He
hoped Christina was as happy as he was. She must be: perhaps she
had gone from London and was going home. From London to
Scotland. Happy Christina! Perhaps she was going home to be
married! Dear Christina! He loved her, as he loved every one in the
world that morning. But he must write his letter: he wrote:
“I am in the guard’s van. The circumstances proved quite
exceptional—I did not make them so—and the separation was more
than I could bear. Now that I am near her I am absurdly happy,
because I believe she is a little unhappy because—she thinks—I am
not near her. I saw her into this train, as I promised, and just as the
train was going out of the station she popped her beautiful little head
out of the window and smiled at me—I thought I saw tears in her
eyes! Do I stand exonerated? How can I thank you? I shall never be
able to. There is so much I want to say and I am too shy to say it.
Why need I say anything to you who understand everything? But I
feel in honour bound to explain to you why I am in the guard’s van—
you must have known I should be there! As a boy I thought it the
best place on the train—now I know one better!”
 XXIII

God made both joy and sorrow—

Tears for to-day, smiles for to-morrow.

S HAN’T opened her eyes. She opened them just as naturally as

she used to open them every morning of her life.
She looked first at Marcus, then at Elsie. Then she looked at his
hand on hers, then at Aunt Elsie’s hand on hers, and she smiled.
“Shan’t?” said Marcus, and suddenly Elsie wanted to cry. He
should not have said it like that—she hadn’t been prepared for it.
“Speak to her,” he said.
“Shan’t,” whispered Elsie.
“Shan’t-if-I-don’t-want-to,” said Shan’t, and then she laughed: tried
to laugh. Most pathetic of all efforts is that of the sick child who tries
to laugh. No laugh brings so quickly tears to the eyes of those who
watch—who have so lately wondered that there could be any one in
the world with the heart to laugh!
Then Shan’t pulled her hand from under Uncle Marcus’s hand, and
her other hand from under Aunt Elsie’s, and taking Uncle Marcus’s
hand laid it on Aunt Elsie’s—and having done all that she went to
sleep. She was tired—and naturally.
She had done—weak and ill—what the strongest man would not
have dared to do.
“How are the dogs?” whispered Marcus.
“Very good—and so obedient,” said Elsie softly.
THE END
 The Riverside Press

CAMBRIDGE . MASSACHUSETTS

U.S.A
*** END OF THE PROJECT GUTENBERG EBOOK ORANGES
AND LEMONS ***

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