The Project Gutenberg eBook of Joy Ride

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: Joy Ride

Author: Mark Meadows

Illustrator: Dick Francis

Release date: April 12, 2010 [eBook #31961]

Language: English

Credits: Produced by Sankar Viswanathan, Greg Weeks, and the Online

Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK JOY RIDE ***

Transcriber's Note:

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

joy ride

By MARK MEADOWS

Illustrated by DICK FRANCIS

Men or machines—something had to give—though not necessarily one or the other. Why not both?

(HISTORIAN'S NOTE: The following statements are extracted from depositions taken by the Commission of Formal Inquiry appointed by the Peloric Rehabilitation Council, a body formed as a provisional government in the third month of the Calamity.)

1

y name is Andrews, third assistant vice president in charge of maintenance for Cybernetic Publishers.

It is not generally known that all the periodical publications for the world were put out by Cybernetics. We did not conceal the monopoly deliberately, but we found that using the names of other publishing houses helped to give our magazines an impression of variety. Of course, we didn't want too much variety, either; only the tried and tested kind.

Cybernetics gained its monopoly by cutting costs of production. It had succeeded in linking electronic calculators to photo-copying machines. Through this combination, all kinds of texts and illustrations could be produced automatically.

ormula punch cards, fed to the calculators, produced articles and stories of standard styles and substance. Market analysts in the research division designed the formulas for the punch cards. An editing machine shuffled the cards before giving them to the calculating machines.

The shuffling produced enough variation in the final product to suggest novelty to the reader without actually presenting anything strange or unexpected.

Once the cards were in the machine, they set off electronic impulses which, by a scanning process, projected photographic images of type and illustrations to a ribbon of paper. This ribbon ran through a battery of xerographic machines to reproduce the exact number of copies specified by the market indicator.

Everything worked smoothly without the necessity for thought, which, as you know, is expensive and often wasteful.

In the second week of the Calamity, one machine after another seemed to go put of order. I couldn't tell whether the trouble was in the cards, in the research office, or in the machines.

First, one produced something entitled "A Critique of the Bureaucratic Culture Pattern." Then another would give out nothing but lyric poems. A third simply printed obvious gibberish, the letters F-R-E-E-D-O-M. And one of our oldest machines ran off a series of limericks of a decidedly pungent flavor.

I did all I could to straighten them out. Even our cleaning compounds were analyzed for traces of alcohol. But we weren't able to locate the trouble. And we didn't dare shut off the power because that would have backed up our continuous stream of pulp and paper all the way to Canada, Alaska and Scandinavia. There didn't seem to be anything to do but let the publications go on through to the distribution center.

Before they were returned to the pulp mills, some of the publications reached private hands and created something of a stir, especially the limericks. One of them went something like this: "There was a young...." (Passage defaced.)

2

y name is Minton, traffic officer emeritus on the Extrapolated Parkway.

The Parkway was equipped with the usual electronic controls to propel cars magnetically, to maintain a safe distance between all cars, and to hold them automatically in their proper lanes. The controls also turned cars off the Parkways at the proper exit, according to the settings on the individual automobile's direction-finder.

On the ninth day of the Calamity, the controls became erratic. Cars ran off the highway at the wrong exits, even though their direction-finders seemed to be in good order. Many turned around in circles at entrances to the Parkway and failed to enter. Drivers abandoned cars in despair and actually made their way on foot. Those who remembered how to steer by hand, mainly persons with obsolete cars, were able to travel by using back country roads. It was almost like old times, when we used to have accidents.

Meanwhile, I kept getting radio calls from motorists whose cars were trapped on the highway. They were unable to turn off anywhere, even at the wrong exit. The magnetic propellers forced them to continue traveling a circular route for hours. I don't know what they expected me to do about it.

They tried to say I tampered with the controls, but I had no such orders. There was nothing in the Traffic Officer's Manual to cover this situation, so I naturally did nothing.

Anyway, I think that the trouble lay with the direction-finders in the cars rather than with the Highway Controls. For several days previously, a great many cars no matter how the automatic direction-finders were set, had been known to head for water if they weren't watched. Because of the fact that so many motorists had formed a habit of snoozing, once the car was in motion, there were a number of drownings. If we could have done anything to prevent them, we probably would have, though that wasn't our job.

3

y name is Elder, sound director for Station 40 N 180.

We had noticed nothing unusual about our broadcasts until the third day of the Calamity. That was the first time one of our ultra-sensitive microphones began to pick up and broadcast speeches from unknown sources.

Our third assistant monitor was the first to notice. He called and told me that interference was disrupting the program. A few minutes later, he said that the sponsor's message, as broadcast, did not conform to the copy which had been put on the tape. (To eliminate studio errors, all our broadcast programs were first recorded on electro-magnetic tape and edited before they were released.)

We checked and found that none of the commercial messages were going through properly. The fact is that they were broadcast very improperly.

I tested the microphone myself and was reported as saying, "What difference does it make?" I had used the conventional testing phrases, "One, two, three, four," yet all three monitors swore that the other sentence had been uttered in my voice.

We switched at once to broadcasting music exclusively as an alternative to verbal programs, but the microphones continued to pickup vocal interference. The voices were of many kinds and not always distinct. They sounded sincere and the words were plain, but I could not discern any meaning in them.

or a while, until the Calamity affected wire communications, too, we received telephone comments from our audience.

A few people complained about the confusion, but most asked us to turn off the music and let the voices come through clearly.

One of the listeners said to us, "I haven't heard men speak their minds so plainly since the morning Grandma wrecked Grandpa's new helicopter."

4

y name is Wilson. I manned the remote control panel for the Duplicator Construction Company.

As you know, we directed a battery of building machines which erected mass housing projects. I directed only the destination of our machines. Once I sent them to a site, they completed their work automatically with the materials installed at our supply depot.

A single machine could prepare a site and erect a complete house in one day. With an army of 5,000 machines, our firm had succeeded in building as many houses as there was room for, and we had started on the demolition of our original buildings for replacement with the modern economy-size model. This made room for three families where one had lived before. We started this replacement program the week before the Calamity.

The first hint of trouble was a call from a checker to the front office. I happened to be there when he appeared on the vid-screen and said that one of our machines had built a Chinese pagoda. He seemed to think it was funny.

Then we began to receive other reports. Our machines were building grape arbors, covered bridges, cloisters, music halls, green houses, dancing pavilions and hunting lodges.

One machine was not building at all, but had gone on a rampage, clearing ground where we had just completed one thousand of the new economy-size dwelling units.

The machine was dynamited by our emergency squad.

5

y name is Fisher. On the first day of the Calamity, I was a member of an audience which had been employed by the Spectacle Commission to observe the start of the Forty-Ton-Shovel-Cross-Continent-Ditch-Digging Contest.

This was the first time that power shovels of this size had been used to dig a ditch more than a thousand miles long. I was very proud to be in that audience.

The contest started on time. The shovels were marshaled and on their marks at the city line. The Mayor fired a disarmed war rocket as the signal to start.

And then the shovels, instead of biting into the dirt, turned at right angles and began to chew a path through the paid audience.

This was not called for in the contract and many hired spectators ran away in fright, but a few of us had enough professional pride to stand by. We watched as the shovels cut an irregular path through streets, parks and open lots in the city snapping at everything in their way until they reached the water-front.

I thought they would stop at the docks. The leaders did pause, until all the shovels had come abreast. Then, as if they had a common impulse, they rolled into the harbor and sank in unison.

As I later said to my wife, it was quite extraordinary.

6

y name is Danville. I was watching a colorvision program on the first day of the Calamity.

The program was a wrestling match between a woman and a bear. The bear was winning when the screen went dark. The announcer's voice faded and I heard what sounded like the chatter of my neighbors. When the screen lit up again, it showed my own home. The door opened to reveal the hallway to the dining room, where I could see my wife sewing a patch on my son's pants. Then I saw my daughter experimenting on fudge in the food laboratory and my boy working on a bomb model. What surprised me most was a picture of myself staring at myself on the screen.

This wasn't very interesting to me, so I tried some of the other stations. No matter where I tuned in, though, I found myself looking at a part of my own home. I wrote a letter of complaint to the Universal Program Commission, but never even got an answer.

7

am sorry that I do not remember my name. I have been employed a long time in the Classified Laboratory of Theoretical Physics and have been under security orders to speak to no one except in answer to official queries. As I am the only scholar in my field—the polarity of the positron—I have never been asked for information. If I had been, perhaps I would not have forgotten my name, but I cannot be sure. I don't know whether the replies are signed.

I could have prevented the Calamity. I tried. I risked my life in the attempt. But at the moment when it seemed I might succeed, something happened which I must try to explain.

First let me tell you why I knew what would happen.

My studies of minute particles led me to believe that machines might exert some form of choice. Simply because aggregates have always behaved predictably, I could not assume they always would. Even though the masses of men behaved as expected, I remember that, in my grandfather's time, individual persons frequently departed from established courses. What the individual could do, I felt the mass or the machine might do.

As you know, these were subversive views, running directly counter to the cult of the Statisticians, which was based entirely on the predictability of mass behavior.

The cult of the Statisticians was strong because it produced results. By employing Statisticians, the contending armies in the Peripheral Wars predicted each other's movements so accurately that they eliminated the possibility of surprise. Thus the Statisticians produced the military impasse which destroyed the prestige of political leadership. From that time on, Statisticians filled the posts of government.

The success of the Statisticians proved their undoing. They claimed that they could create a perfect system without conflict or accident. They fondly believed that with the feedback in the electron brain, they could anticipate and correct all deviations in behavior, human or mechanical.

They might have succeeded, if not for a fundamental error.

I discovered this error as soon as the plans for the fiscal century were published. The design of the electron brain had completely ignored the polarity of the positron. In the total fiscal complex, this factor permits any aggregate to choose its own course. But the error was not immediately obvious to the Statisticians. It remained subtle and concealed until multiplied beyond control.

aturally, I prepared a report to predict to my chiefs the dangers embedded in this plan for a perfect world. I predicted that the machines would make their own decisions, even though most men long ago had lost that power. I even warned them that the ancient concept of "free will," now forbidden, would return to destroy them. These were the facts I offered.

The report was never delivered.

I'd hardly put my seal on the document when the automatic security guard closed in. The document was seized and I was bound gagged and thrown onto a conveyor belt. I saw myself on the way to the eraser. Only the polarity of the positron saved me. Desperately, on my way out of the laboratory, I kicked a single switch.

Instead of taking me to my punishment, the conveyor belt converted itself into a joy ride. The gag fell out. My bonds dissolved. The Calamity had begun.

The joy ride carried me to witness many of the events reported to this Commission. And then it tossed me directly into the center of the office of the Chiefs. I had one more opportunity to tell my story, to save the system.

Given a second choice, I reconsidered.

Had a perfect system been to my taste, I'd have died cheerfully to save it. But the Calamity excited me. I relished its surprises and adventures, even its hazards. I remember the old peasant proverb, "When life is perfect, it is time to die." And I decided I'd rather live.

HISTORIAN'S NOTE: At this point, the Commission abruptly closed its hearings. The unnamed physicist was charged with treason and ordered executed on the spot. His life was saved, however, by Rioters representing the New Disorder, which, upon seizing power, decreed that the Calamity should henceforth be called the Blessing.

The physicist was rewarded by being made head of the government. He served two distinguished terms as President Nameless, which was the origin of the Presidential title of address, "Your Namelessness."

The Commission, of course, was sent to Erasure.

—MARK MEADOWS

*** END OF THE PROJECT GUTENBERG EBOOK JOY RIDE ***

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

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

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

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

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

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

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

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

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

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

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

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

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

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

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

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

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

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

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

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

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

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

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

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

1.F.

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

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

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

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

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

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

Section 2. Information about the Mission of Project Gutenberg™

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

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

Section 3. Information about the Project Gutenberg Literary Archive Foundation

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

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

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

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

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

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

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

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

Section 5. General Information About Project Gutenberg™ electronic works

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

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

Most people start at our website which has the main PG search facility: www.gutenberg.org.

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

Table of Contents

joy ride

Illustrated by DICK FRANCIS

1

2

3

4

5

6

7

THE FULL PROJECT GUTENBERG LICENSE