The Project Gutenberg eBook of Back to Julie

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: Back to Julie

Author: Richard Wilson

Illustrator: Vidmer

Release date: May 31, 2010 [eBook #32619]

Language: English

Credits: Produced by Greg Weeks and the Online Distributed
Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK BACK TO JULIE ***

Transcriber's Note:

This etext was produced from Galaxy Science Fiction May 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.

Back to
      Julie

By RICHARD WILSON

Illustrated by VIDMER

The side-shuffle is no dance step. It's the choice between making time ... and doing time!

ou can't go shooting off to that dimension for peanuts. I don't want to give you the impression that peanuts are in short supply here, or that our economy is in the fix of having to import them sidewise. What I'm trying to convey is that, if you're one of the rare ones functionally equipped to do the side-shuffle, you ought to be well paid for it—in any coin.

That's what I told Krasnow. And he wasn't after peanuts. "I'll do it," I said, "if you'll make it worth my while."

"I'd hardly expect you to do it for nothing," he replied reproachfully. "How much do you want?"

I told him. The amount shook him up, but only briefly.

"Okay," he said grudgingly. "I suppose I'll have to give it to you. But the stuff had better be good."

"Oh, it is," I assured him. "And you don't have to be afraid, because I couldn't possibly skip with the loot. I'll have to travel naked. I can't get there with so much as a sandal on one foot or a filling in a single tooth. Fortunately, my teeth are perfect."

Sweat poured off Krasnow's florid face as he worked the combination of his office safe. His fat jowls quivered unhappily around his cigar while he counted out the bills. Ten per cent was cash in advance, and the rest went into a bank account in my name. I paid off a batch of bills, then stripped and did my off-to-Buffalo.

onest" John Krasnow was a crooked District Attorney who wanted to be Governor and then President. He had the Machine, but he didn't have the People. And, because he needed the People, he needed me. I had been to this other dimension—the one on the farthest branch of the time-tree—and I could give him what he wanted.

Krasnow found out about it after I was hauled up in front of him on a check-kiting charge. I'd had something of a reputation before I got into difficulties and, in trying to live up to the reputation, I had done some plain and fancy financing. Nothing that fifteen to twenty grand wouldn't have fixed—but while I scrounged around, trying to get cash, I kited a few checks. They pyramided me right into the D.A.'s office, where Krasnow was properly sympathetic.

"How," he asked, "could a man of your standing in the scientific world stoop so low?" It developed into quite a lecture and, even coming from Krasnow, it made me feel pretty low.

So I began explaining. I told him where I was born, and where I went to school, and where I had taken my sabbaticals—including this other dimension. And Krasnow believed me. I can't account for it, except possibly because he knew he was a crook and knew I wasn't one—exactly. Anyway, he believed me, and we made the deal and I did the side-shuffle, as agreed.

The journey to that other dimension is not a pleasant one. It does disturbing things to the stomach, and you see everything thin and elongated, as if you're sitting too far to the side in a movie theater.

I got there, however, and waited for the hiccups to subside. Hiccupi laterali, I had called them when I considered writing an article for the Medical Journal after my first trip. With the hiccupi gone, I stole some clothing—which was one of the riskiest parts of the program—and waited for morning. I didn't have any money, of course, so I had to hitchhike into town.

I could have stolen myself a better fit, but people aren't clothes-conscious in that dimension. They're more interested in what you are and what you can do. The driver of the car that gave me a lift asked, "And what is your field of endeavor?"

I told him, "I am able to eliminate the long wait in ivory production by accelerating the growth cycle of elephants."

He was deeply impressed and tipped me handsomely. I was less impressed with his talent for growing cobless corn, and therefore had to return only a small part of the sum he gave me.

The world of this dimension had developed some remarkable parallels to Earth. I mean our Earth, which falls into what I have designated Timeline One Point One, since it's the Earth with which I am most familiar. Every other world that has a language calls itself Earth, too. I had to visit briefly hundreds of the lateral worlds, hovering over primordial swamps, limitless oceans, insect kingdoms and radioactive planetoids, before I found the one that was truly parallel.

It existed in Timeline Seventeen Point Zero Eight, and it had refrigerators, platinum blondes, automobiles, airplanes, apple pie, tabloids, television, scotch and soda—just about everything we think makes life worthwhile. But it had its little differences, which was only to be expected in a timeline where the bionomics could create a new world each time someone changed his mind.

Thus, the cobless-corn man was driving what looked to me like a Chevrolet, but which was a Morton in his world. He let me off near a downtown restaurant where, thanks to our little exchange of talent talk, I had enough money for breakfast. It was considered unethical to swap talent talk outside the limits of certain rigidly defined groups, so I didn't try to out-impress the waitress.

ed, and filling my stolen clothes a bit better, I walked to the recorder's office and spent the rest of the morning looking up old documents. There was nothing there for Krasnow, as I had expected. But for me there was a very pretty file clerk. Talking to her, I verified my impression that human instincts and relationships were much the same in this dimension as in my own—except in the one basic respect that interested Krasnow, of course.

The file clerk and I lunched together and then I spent the afternoon in the library. But I didn't find anything there, either, and then I had dinner with her. She said her name was Julie. I told her mine was Heck, for Hector, which it is. She thought this was "awfully cute" and we got along fine.

Julie had a delightful apartment and a matching sense of hospitality. The following day, when she went to work, I stayed home and washed the dishes and made the bed and used the telephone.

I ran up quite a bill with my long-distance calls, but I found out what I needed to know. I impressed a lot of people with my elephant story and pretended to be impressed hardly at all with what they told me they did—although often I was, very much.

The trouble with these people is that they no longer know how to lie, if that can be listed as trouble. I don't think it can. Neither did Krasnow, obviously. He'd never have sent me off on my expensive side-trip if he had.

Of course, Krasnow looked at it objectively. What he wanted from Timeline Seventeen Point Zero Eight was not for himself. It was for everybody else. He wanted the formula for the truth gas these people had developed long ago and loosed upon their world to put a stop to wars.

They had been in a bad way, although no worse than the sort of problem we were up against. Their trans-ocean squabbles and power politics seemed to have settled into a pattern of a war or two per generation. Just like us. Hence, the man who invented the truth gas became a global hero, after a certain amount of cynicism and skepticism. All the doubts vanished, naturally, once the gas got to working. And so did war.

You can't do much plotting and scheming if, every time you open your mouth to tell a lie, you stammer, sweat, turn red and gasp for breath. It's a dead giveaway. Nobody tries it more than once.

One or two men had tried to nullify the gas or work out a local antidote, either as a pure research project or through power-madness. But, because they had had to state their purposes as soon as they thought of them, they were put away. Neat. Very neat.

What I wanted was the formula for the truth gas. Its location wasn't exactly a secret in this land of complete candor, but it wasn't writ large on any wall for all to see, either. They kept it in their capital—located about where our Omaha is—on file among the Vital Statistics.

I took a superjet out there.

had no trouble posing as a historian entitled to the facts. The gas didn't work on me, you see, because it was adjusted to the physiology of that timeline. There was just enough difference between us for it not to make me stick to the truth.

"We'll write out the formula for you," I was told obligingly. "But you'll have to sign the usual statement."

"Of course," I said. "Which one is that?"

"The one that says you won't publish it, and will destroy your copy when it has served your research purpose, without letting anyone else see it."

"Oh, that statement," I said.

I signed freely, told my elephant story and departed in an aura of good will.

The jet got me back that same evening. Julie fixed me up a snack, and we discussed how pretty she was and how nice I was.

I had everything Krasnow wanted now. I felt pretty good about it, because there was nobody else who could have done the job for him, and because it wasn't spying, really. Earth One Point One on the Timeline is world enough for Krasnow, I'm sure. Besides, dimensions don't have wars with one another. Too many things can go wrong.

Julie was lovely and I hated to leave the next morning, but it was my job. I told her, "I'm afraid I have to leave town for a bit, dear, but I'll be back very soon. Business, you know."

Being a Seventeen Point Zero Eight girl, Julie had no reason to doubt me. "Make it very soon," she whispered, her lips close to my ear.

So I came back, and now Krasnow has what he wants. He's delighted, as he should be. I've made up the gas for him and adjusted the formula so that it will work on people of our timeline. It's high-power stuff and a little will go a long way. I also made up an antidote for him. This was easy, since I could work on it without feeling any compulsion to tell everybody what I was doing and why.

Krasnow plans to release the truth gas just before the state convention. He'll be nominated, of course, and after November he'll be Governor. With everyone else compelled to tell the truth, it should be a cinch for him. He's a patient man, Honest John Krasnow is, and he's willing to wait four years for the Presidency.

I ought to be happy too. With the money Krasnow gave me, I've been living in the style to which I've always wanted to be accustomed. He has offered me a place on his staff and, somewhat superfluously, the use of his antidote. Naturally, the reason he was so magnanimous was that he doesn't want anyone else around who knows his gimmick and might have to tell the truth about it.

But I have had enough of this dimension now—now that Krasnow has what I promised him. He's going to use it tomorrow. And if I know Honest John—and I do—not even the Presidency will be big enough for him.

So I'm going back to Julie.

here are some obvious questions in your mind, I know, such as: Why did I get the formula for Krasnow, knowing there was no way for him to prosecute me while I was in Julie's dimension? And what made me come back?

In short—what was in it for me?

Let's call it research. Krasnow is a big-time operator; I've always been, you might say, in the peanut end of the game. He had a great deal to teach me and I, I'm happy to say, was an apt pupil. You might speculate on what's in it for you, because, if you ask me, anybody who can do the side-shuffle should do it before Krasnow becomes President.

However, don't go to Seventeen Point Zero Eight unless you want to swap one Krasnow for another. The fact is that I've learned I can be one in Julie's dimension. After all, their formula doesn't work on me—but I can assure you that it will work on you.

And that elephant story I told on my last visit is, as I've indicated, in the peanut category. All Krasnow has is a country. I'll have a whole world.

There's nothing like study under a master, is there?

I should be back to Julie by midnight if I start now.

—RICHARD WILSON

*** END OF THE PROJECT GUTENBERG EBOOK BACK TO JULIE ***

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.