The Project Gutenberg eBook of Comic Bible Sketches, Reprinted from "The Freethinker"

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: Comic Bible Sketches, Reprinted from "The Freethinker"

Author: G. W. Foote

Release date: October 6, 2009 [eBook #30210]
Most recently updated: October 24, 2024

Language: English

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK COMIC BIBLE SKETCHES, REPRINTED FROM "THE FREETHINKER" ***

Format Choice

The present format is best for most laptops and computers, and generates well to .mobi and .epub files. The higher quality images in this file do not reduce in size to fit the small screens of Tablets and Smart Phones—part of the larger images may run off the side. Another format is available by clicking on the following line:

A file with images which automatically accomodate to any screen size; this is the best choice for the small screens of Tablets and Smart Phones.

COMIC BIBLE SKETCHES

Reprinted From "The Freethinker"

By G. W. Foote

Part I.

London:
Progressive Publishing Company

28 Stonecutter Street, E.C.

1885.

INTRODUCTION.

English literature has its Comic Histories, its Comic Grammars, its Comic Geographies, and its Comic Law-Books, and Carlyle once prophesied that it would some day boast its Comic Bible. Tough as the fine old Sage of Chelsea was, he predicted this monstrosity with something of the horror a barbarian might feel at the thought of some irreverent fellow deliberately laughing at the tribal fetish. But what shocked our latter-day prophet so greatly in mere anticipation has partially come to pass. "La Bible Amusante" has had an extensive sale in France, and the infectious irreverence has extended itself to England. Notwithstanding that Mr. G. R. Sims, when he saw the first numbers of that abominable publication, piously turned up the whites of his eyes, and declared his opinion that no English Freethinker, however extreme, would think of reproducing or imitating them, there were found persons so utterly abandoned as not to scruple at this unparalleled profanity. Several of the French drawings were copied with more or less fidelity in the Freethinker, a scandalous print, as the Christians love to describe it, which has been prosecuted twice for Blasphemy, and whose editor, proprietor and publisher, have been punished respectively with twelve, nine and three months' imprisonment like common felons, all for the glory and honor of God, for the satisfaction of his dear Son, and for the vindication of the Holy Spirit. In many cases the French originals could not be reproduced in England, owing to their Gallic flavor. A Parisian artist, disporting himself among those highly moral histories in the Bible which our youths and maidens discover with unerring instinct, was not a spectacle which one could dare to exhibit before the pious and chaste British public; any more than an English poet could follow the lead of Evariste Parny in his "Guerre des Dieux" and "Les Amours de la Bible." But many others were free from this objection, and a selection of them served as a basis for the Freethinker artist to work on. A few were copied pretty closely; some were elaborated and adapted to our national taste; while others furnished a central suggestion, which was treated in an independent manner. By-and-bye, as the insular diffidence wore off, and the minds of the Freethinker staff played freely on the subject, a new departure was taken; novel ideas were worked out, and Holy Writ was ransacked for fresh comicalities. Dullards prophesied a speedy exhaustion of Bible topics, but they did not know how inexhaustible it is in absurdities. Properly read, it is the most comical book in the world; and one might say of it, as Enobarbus says of Cleopatra, that Age cannot wither it, nor custom stale; it's infinite variety.

The following Comic Bible Sketches, which will be succeeded in due course by others, comprise all those worth preserving that appeared in the Freethinker before its editor, proprietor and publisher were imprisoned, including the drawings they were prosecuted for by that pious guinea: pig, Sir Henry Tyler, who had his dirty fingers severely rapped by Lord Coleridge, after spending several hundred pounds of somebody's money in an unsuccessful Blasphemy prosecution, in order to patch up his threadbare reputation, and perhaps also with a faint hope of cheating the Almighty into reserving him a front-seat ticket for the dress-circle in heaven.

The French Comic Bible prints under each illustration a few crisp lines of satiric narrative. This plan has its advantages; it allows, for instance, the writer's pen to curvet as well as the artist's pencil. But it is after all less effective than the plan we have adopted. We merely give each picture a comprehensive and striking title, and print beneath it the Bible text which is illustrated. By this means the satire is greatly heightened. Not even the sentences of a Voltaire could so illuminate and emphasise the grotesqueness of each topic as this juxtaposition of the solemnly absurd Scripture with the gaily absurd illustration.

The same spirit has animated us in designing the pictures. Our object has been to take the Bible text always as our basis, to include no feature which is contradicted by it, and to introduce as many comicalities and anachronisms as possible consistently with this rule. We are therefore able to defy criticism. Bibliolators may vituperate us, persecute us, or imprison us, but they cannot refute us.. We can safely challenge them to prove that a single incident happened otherwise than we have depicted it. We can candidly say to them—"The thing must have happened in some way, as to which the Divine Word is silent; this is our view,—What is yours?" And we humbly submit that our speculations are as valid as our neighbors'. Nothing but the insanest bigotry in favor of their own conjectures could lead them to quarrel with us for expounding ours. If they can shame us with explicit disproofs from Holy Writ, let them do so; but what right have they to set up their carnal imaginings and uninspired theories as the ultimate criteria of truth?

Those who object to any employment of satire on "sacred" subjects should not go beyond the Preface of this book. It is not for them, nor are they for it; and they are warned in the hall of what they must expect in the various chambers. But if they neglect the warning they should take the responsibility. It will be simply indecent if they turn round afterwards and assail us with unmerited abuse.

For the sake of those who proceed in a spirit of impartial candor and honest inquiry, we beg to offer a little further explanation.

We honestly admit that our purpose is to discredit the Bible as the infallible word of God. Believing as we do, with Voltaire, that despotism can never be abolished without destroying the dogmas on which it rests, and that the Bible is the grand source and sanction of them all, we are profoundly anxious to expose its pretentions. The educated classes already see through them, and the upper classes credit them just as little, although they dare not openly profess a scepticism which would imperil their privileges. But the multitude are still left to the manipulation of priests, credulous victims of the Black Army everywhere arrayed against freedom and progress. It is to liberate these from thraldom that we labor, sacrifice and suffer. Without being indifferent to what the world calls success, we acknowledge the sovereignty of loftier aims. Compared with the advancement of Freethought everything else is to us of trivial moment. It may interest, and perhaps surprise, some to learn that for the famous Christmas Number of the Freethinker which was successfully prosecuted, the editor received absolutely nothing for his work except twelve months' imprisonment, while the then registered proprietor, who suffered nine months of the same fate, actually shared with him a pecuniary loss of five pounds. We are really in deadly earnest, like all the greater soldiers of freedom who preceded us; and we employ our smaller resources of satire, as such giants as Lucian, Rabelais, Erasmus, Voltaire and Heine used theirs, for ends that reach far forward into the mighty future, and affect the welfare of unimagined generations of mankind.

Now the masses do not read learned disquisitions; they have no leisure to make themselves adequately acquainted with the history of the Bible documents; nor can they study comparative religion, trace out the analogies between Christianity and older faiths, and realise how all the elaborate developments of doctrine and ritual in modern creeds have sprung from a few simple beliefs and practices of savage superstition. But they are conversant with one or two cardinal ideas of science, and they know the principles which underlie our daily life. What is called common sense (the logic of common experience) is their philosophy, and whoever seeks to move them must appeal to them through that. Strange as it may appear, it is that very common sense which the clergy dread far more than all the disclosures of learning and all the revelations of science; the reason being, that learning and science are the privilege of a few, while common sense is the possession of all, and affects the very foundations of spiritual and political tyranny.

Ridicule is a most potent form of common-sense logic. What is the reductio ad absurdum but an appeal to admitted truths against plausible falsehoods? Reducing a thing to an absurdity is simply showing its inconsistency with what is common to both sides in a dispute; and it frequently means the exposure of a gross contradiction to the principles of sanity. Laughter, too, as Hobbes pointed out, has always an element of pride or contempt; being invariably accompanied by a feeling of superiority to its object. Whoever laughs at an absurdity is above it. He looks down on it from a loftier altitude than argument can reach. The man who laughs is safe. He can never more be in danger, unless he suffers fatty degeneration of the heart or fattier degeneration of the head. Priestcraft nourishes hope in the scientific laboratory, and feels only faint misgivings in academic halls; but it pales and withers at the smile of scepticism, and hears in a low laugh the note of the trump of doom.

Ridicule can never injure truth. What it hurts must be false. Laugh at the multiplication-table as much as you please, and twice two will still make four.

Pictorial ridicule has the immense advantage of visualising absurdities. Lazy minds, or those accustomed to regard a subject with the reverence of prejudice, read without realising. But the picture supplies the deficiency of their imagination, translates words into things, and enables them to see what had else been only a vague sound.

Christians read the Bible without realising its wonders, allowing themselves to be cheated with words. Mr. Herbert Spencer has remarked that the image of the Almighty hand launching worlds into space is very fine until you try to form a mental picture of it, when it is found to be utterly irrealisable. In the same way, the Creation Story is passable until you image the Lord making a clay man and blowing up his nose; or the story of Samson until you picture him slaying file after file of well-armed soldiers with the jaw-bone of a costermonger's pony.

Let it be observed that these Comic Bible Sketches ridicule nothing but miracles. Mr. Mathew Arnold has said that the Bible miracles are only fairy tales (very poor ones, by the way) and their reign is doomed. We only seek to hasten their deposition. Whatever the Bible contains of truth, goodness and beauty, we prize as well as its blindest devotees. But this valuable deposit of antiquity would be more useful if cleared of the rubbish of superstition. It is not the good, but the evil parts of the Bible, that are supported by its supernaturalism. Why should civilised Englishmen go walking about in Hebrew Old-Clothes? Let us heed Carlyle's stern monition:—"The Jew old-clothes having now grown fairly pestilential, a poisonous incumbrance in the path of of men, burn them up with revolutionary fire."

A word in conclusion. The editor of the "Manchester Examiner," writing over the well-Known signature of "Verax," recently published a long article, censuring the policy of aggressive Freethought, and declaring that to laugh at the absurdities of the Bible was to insult the human race. We might as well, he said, laugh at our poor ancestors, the ancient Britons, for all their mistakes and follies. Well, when the ancient Jews are not only dead, but buried like the ancient Britons; when their mistakes and follies are no longer palmed off on unsuspecting children, and imposed on grown-up men and women, as divine immortal truths; we will cease ridiculing them, and devote our attention to worthier objects. What, would "Verax" say if an ancient Briton, dressed in a full suit of war-paint, were to walk through the Manchester streets, boasting himself the pink of fashion, and insulting peaceable citizens who refused to patronise his tailor? Would he not write a racy article on the absurd phenomenon, and ask why the police tolerated such a nuisance? In like manner we publish our Comic Bible Sketches, and summon the police of thought to remove those ancient Jews who still infest our mental thoroughfares.

April, 1885.

G. W. FOOTE

Enlarge to full size by clicking on any image.

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

ENLARGE

*** END OF THE PROJECT GUTENBERG EBOOK COMIC BIBLE SKETCHES, REPRINTED FROM "THE FREETHINKER" ***

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.

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back