The Project Gutenberg eBook of Badger House Community: Trail Guide
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: Badger House Community: Trail Guide
Creator: Mesa Verde Museum Association
Release date: August 3, 2020 [eBook #62839]
Most recently updated: October 18, 2024
Language: English
Credits: Produced by Stephen Hutcheson and the Online Distributed
Proofreading Team at https://www.pgdp.net
*** START OF THE PROJECT GUTENBERG EBOOK BADGER HOUSE COMMUNITY: TRAIL GUIDE ***
BADGER HOUSE
Community
_Trail Guide_
_25¢
donation if you take book home._
BARNHART
[Illustration: Badger House Community Trail]
_TRAILHEAD_
_To Long House_
_Basketmaker Pithouses_
_Pueblo Village_
Mini-Train Pickup
_Badger House_
Mini-Train Pickup
_Two Raven House_
Mini-Train Pickup
_To Kodak & Long House Overlooks_
(_Trail is accessible to the handicapped_)
About Your Visit...
Welcome to Badger House Community. This group of ruins covers nearly
seven acres. Your walk through this area is a journey through 600 years
of prehistory....
About The Past...
Archeologists learn about past human behavior mostly through studying
technology. As archeologists uncover settlements of different ages, as
here on Wetherill Mesa, they can compare patterns in architecture,
tools, and village layout and note how these changed through time. From
these things, archeologists can infer how societies organized to carry
out the tasks of life and how they reorganized when necessary to meet
life’s challenges.
In their interpretations of the past, archeologists do not always agree
with one another. There is no reason why they should. The evidence is
always incomplete and often difficult to understand....
[Illustration: {Pot}]
About The People...
Archeologists call the prehistoric Indians of the Mesa Verde “Anasazi.”
Anasazi peoples once lived over a vast area of the northern Southwest,
from the Four Corners to southern Nevada. The Anasazi were descended
from nomadic hunting and gathering peoples who occupied the Southwest
several thousand years before the time of Christ. Food plants,
originally domesticated in Mexico, spread to the Southwest through
trade. People were then able to produce food as well as collect it.
Although the Anasazi raised crops of corn, beans, and squash, such foods
probably made up only about half their diet. The people still relied on
the hunting and gathering skills passed down from their ancestors. The
Pueblo Indians of Arizona and New Mexico are the descendants of the
Anasazi. Despite four centuries of contact—and sometimes conflict—with
European culture, today’s Pueblos carry on much of the way of life the
Anasazi developed over the centuries. The Anasazi heritage lives on.
[Illustration: {Axe}]
Living in the Ground:
Modified Basketmaker Pithouse (AD 650)
By the late 500s, the Anasazi had settled on various parts of the Mesa
Verde. The people lived in pithouses clustered in villages. These also
included groups of small above-ground storage rooms built of jacal
(mud-plastered posts).
• STOP #1
Pithouses were structures with their floors and lower walls below ground
surface. Large posts set into holes in the floor supported a flat roof
and sloping sidewalls of poles, juniper bark, sage, and plaster. The
sidewalls rested on the low bench around the inside of the pit, where
impressions of the poles can still be seen.
Pithouse floor plans of this period resembled a figure-eight. The large
room was the living and sleeping area. It was equipped with a firepit or
hearth, usually located near the center.
One or both of the holes located behind the hearth was probably a
sipapu, an important spiritual symbol still found in this position in
modern Pueblo ceremonial rooms. Pueblo tales relate that the ancestors
originated in the spirit world beneath the earth. Aided by spirits and
culture heroes, the ancestors climbed through an opening linking the
world below with this one and settled on the lands the gods had prepared
for them. The sipapu symbolized this event and the place of emergence.
Its presence in the pithouse suggests that the family conducted some
religious ceremonies at home.
[Illustration: Early Anasazi peoples lived in semi-subterranean
homes called “pithouses.”
The reconstruction (top) is based on the position of support post
holes and other features on the floor plan (bottom).]
Near the far wall of the house, archeologists found a large pit
containing stones piled on a bed of sand. This was probably a heating
pit. In the evening, stones would be heated in the hearth, then placed
on the sand. They would radiate heat for several hours, warming the air
near the floor where the people slept.
This small room is called an antechamber. It probably was used as a
storage area and also as a passageway to and from the outside. At some
point, this room was converted into another living area and equipped
with a firepit, sipapu and antechamber of its own. The pithouse became a
“duplex” housing two families, an unusual arrangement.
[Illustration: Turkey Vulture]
[Illustration: Common Raven]
• STOP #2
This dense pinyon-juniper forest indicates deep, well-watered soil. Some
of the best farm land on the Mesa Verde was to be found here around
Badger House Community. Today the Mesa Verde looks much as it did when
the Anasazi arrived. The birds and mammals you may see during your
walk—mule deer, ravens, turkey vultures, jays—would have been familiar
to the prehistoric people. The conspicuous hills you will see in several
places along the trail are anthills. Modern Pueblo potters sometimes
collect the small pebbles from these nests to grind up and use as
temper, the material added to pottery clay to prevent the vessels from
cracking as they dry.
[Illustration: Steller’s Jay]
[Illustration: Mountain Chickadee]
_Developmental Pueblo Village_
Beginning about 750, Anasazi living arrangements changed rapidly. The
jacal storage rooms built near the pithouses grew into rooms of
three-room apartments. The Anasazi probably used these as summer homes,
then retreated into the better insulated pithouses with the coming of
cold weather.
[Illustration: Plan of three-room apartments, AD 750.]
• STOP #3
The Anasazi occupied this site continuously for over 300 years.
Archeologists know of several other room-blocks and a few pithouses in
this area. This room-block was the last to be built.
The pattern seen here—a long arc of single-room houses—appeared after
800. Note the sunken floors.
[Illustration: Plan of early Pueblo, after AD 800.]
These houses were built over shallow trenches. The walls were
constructed using an interesting mixture of materials and techniques.
Most were built of adobe, sometimes with stone slabs set upright along
the base. Some were built of rough stones set in thick layers of
mortar—the beginnings of true masonry, which the Anasazi would refine in
the centuries to come.
• STOP #4
Fire destroyed this entire block, and claimed a life. In one of these
rooms, archeologists found the skeleton of an adult sprawled across the
floor. An adobe wall had toppled onto the body, and it appeared that
this person was overcome by flames before this hapless victim could
escape the flames.
[Illustration: {Sandal}]
• STOP #5
This large underground room was a great kiva or ceremonial chamber.
Here, perhaps, people from this community and others nearby gathered for
rituals marking events important in the lives of all, such as planting
and harvest.
In this kiva, you will recognize a familiar combination of pithouse
features: central hearth, bench, and postholes. Through time, the
pithouse was devoted more and more to religious activities.
The history of this kiva can be read in the stratigraphy, or layers of
colored soil, preserved in the earth opposite this stop. When the pit
was dug, the soil was piled around the rim. At some point, fire
destroyed part of the kiva roof. The rest was taken apart, the beams
probably used elsewhere, and the kiva abandoned. Gradually the soil
washed back over the rim and into the ruined structure. After a few feet
of dirt had accumulated, people built fires in this area, leaving the
dark charcoal stains. Finally the people filled the rest of the kiva
with earth and trash and built houses on the fill.
[Illustration: {Decorative pattern}]
Badger House
• STOP #6
More towers have been found in the Mesa Verde-Montezuma Valley area than
in any other part of the Southwest. Most of these were located near
kivas, and many were connected to kivas by tunnels. This suggests that
towers were important in Anasazi ceremonial life, but archeologists are
not sure how. A tunnel extended 41 feet between a hatchway in the floor
of this tower and an opening in the wall of a kiva at the far end of
Badger House. This is the longest kiva-tower tunnel yet discovered in
the Southwest. The tunnel was built by digging a trench which was then
roofed with poles, brush and earth. When the kiva burned, the entrances
at both ends of the tunnel were open. Flames were drawn through the
tunnel some 20 feet towards the tower, charring the roof.
• STOP #7
This site was first occupied from about 900 through 1100. People
returned in the 1200’s, built the kiva and tower and a room-block, but
soon after abandoned the site for good.
The earliest houses here were so disturbed by later construction that
archeologists could not get a clear idea of their number or extent.
[Illustration: Badger House as it may have appeared in the 1200’s.]
The ruins exhibited here are the remains of two room blocks built at
different times, one partially over the rubble of the other. The lower
foundations date from about 1000-1100, the upper from the late 1250’s.
[Illustration: {Pitcher}]
Compare the changes in masonry that took place over this time span. The
walls of the earlier rooms are only one-stone wide. Except for the
chipping along the edges—a technique sometimes called “scabbling”—the
stones were left rough. The walls of the later rooms, however, were
built of two parallel rows of stone and the space between them packed
with earth and rocks. The stones themselves were finished by pecking,
similar to those you will see in the walls of the small kiva at the next
stop.
An earth-filled bench was built at one end of each of the later rooms.
These may have been sleeping platforms, raised to avoid drafts and the
cold air that settled near the floors overnight.
No roofing timbers were found in this room-block. Archeologists believe
that when the Anasazi abandoned this site they took much of Badger House
with them. Stones and beams from these rooms probably found a place in
the walls and roofs of Wetherill Mesa cliff dwellings.
• STOP #8
After about 900, Mesa Verde communities were dotted with kivas like this
one. Small kivas probably were used by several related families or by
secret religious societies whose members specialized in performing
certain types of ceremonies. The roof was at ground surface. Kiva roofs
were supported by an ingenious cribbed framework of logs. The ends of
the logs rested on the pilasters or columns along the kiva wall. Note
the large rectangular pit or vault in the floor. The ends of this vault
were stepped and supported a plank hewn from ponderosa pine.
Archeologists believe that this was used as a drum.
[Illustration: WETHERILL MESA ARCHEOLOGICAL PROJECT
Between 1958 and 1964, archeological crews excavated in several
sites on Wetherill Mesa. This work was funded by the National
Geographic Society and the National Park Service. At the time, the
Wetherill Mesa Project was among the largest “digs” ever undertaken
in the United States. A number of different fields participated,
including botanists, zoologists, and geologists. All applied their
special skills in this effort to better understand the world of the
prehistoric peoples of the Mesa Verde.]
Around 1200, most of the Mesa Verde Anasazi abandoned their homes on the
mesa tops and settled in the alcoves or overhangs along the canyon
walls. Some people continued to live—or at least to use ceremonial
sites—on the mesa tops, however. Archeologists are virtually certain
that the tower, kiva, and last block of rooms at Badger House were built
in 1258.
• STOP #9
Archeology can tell us much about how human activities alter the natural
environment. Consider this tale of two rabbits:
When the Anasazi settled on the Mesa Verde, it looked much as it does
today. Cottontails are now very common in the mesas while jackrabbits
are rare. Yet the animal bone recovered from sites like Badger House
included as much jackrabbit as cottontail.
Why?
[Illustration: Cottontail]
In clearing land for farming, the Anasazi converted areas of the mesa
tops into the sort of open habitat jackrabbits favor. The species moved
into these areas and multiplied quickly. After the Anasazi abandoned
Mesa Verde, the brush and forest grew over the former cornfields. As the
brush returned, so did the cottontails—and the jackrabbits retreated to
the open country of the Montezuma Valley, where they are common today.
[Illustration: Jackrabbit]
Two Raven House
The Anasazi occupied this site at various times from the 900’s into the
1100’s. They left behind some unusual and puzzling architectural
features....
• STOP #10
The sides and floor of this pit were fire-reddened, and archeologists
believe it was used as an oven. Food probably was placed on a bed of hot
stones, covered with earth, and allowed to bake for several hours.
• STOP #11
This small underground room was among the last structures built on this
site. Archeologists do not know its purpose, but it resembles a
miniature kiva.
The last building on this site was a small pueblo. From the time the
Anasazi began to live in above-ground dwellings, their villages usually
included open courtyards or plazas. The kivas were located in this area.
Modern Pueblo Indians use the plaza as a work area, a place to
socialize, and a stage for the dances that are often a part of religious
ceremonies.
[Illustration: The palisade was built of upright poles, with
branches probably woven between them.]
• STOP #12
A palisade, or fence of posts and brush, partially enclosed the plaza of
Two Raven House. Archeologists speculate that such structures may have
been windbreaks to shelter the plaza or even barriers to keep Anasazi
turkeys in (or out) of the village. Although palisades have been
discovered at only a few other sites in the Southwest, they may have
been common features of Anasazi villages. Archeologists seldom have the
time (or money) to spend stripping away the topsoil in search of the
telltale rows of postholes.
• STOP #13
Between 1280 and 1300, the Anasazi left Mesa Verde and moved south. Some
of the people may have joined the Hopi in northern Arizona, but most
probably settled among the Pueblos in the Rio Grande Valley of New
Mexico. Archeologists are still not certain why the Anasazi abandoned
much of their homeland at this time.
Drought conditions, which began around 1276 and persisted for nearly a
generation, may have been partly to blame. Yet, the Anasazi had survived
several previous droughts. By 1280, however, the people may have been
facing other serious problems in their environment, including exhausted
soil and erosion.
_Even after a century of research, mysteries remain...._
• STOP #14
These stones are the remains of toppled walls. They were removed from in
and around the rooms during excavation.
A key ingredient in making a house into a ruin is neglect. Nature does
the rest. Walls and roofs of abandoned houses sag and fall. Soil, moved
by water and wind, builds up against the foundations. Plants with
shallow roots sprout, anchoring the soil, which eventually becomes deep
enough to support brush cover. Given time, the result is a mound—one
littered with lichen-covered stones, pot sherds, flakes of stone and
mortar, but otherwise nearly blending into the landscape. You may have
wondered how archeologists estimate the height of walls when so few are
left standing. The answer lies here. They collect the debris and measure
the pile.
[Illustration: {Pitcher}]
Wetherill Mesa
Planning Information Sheet
The following information will help you plan your visit to Wetherill
Mesa. The road to Wetherill is open from 8:00 a.m. to 4:30 p.m. The
12-mile, 30/45 minute drive offers a number of excellent views of the
Park and Four Corners.
NOTE: Vehicles in excess of 8,000 G.V.W. and/or 25 feet in length are
prohibited.
Summer Activities
Wetherill Mesa offers a variety of sights, from cliff dwellings to mesa
top ruins. From the parking area, walk to the information kiosk and
mini-train loading area. There the Ranger will help you plan your visit
to the ruins.
Step House Ruin: The ½-mile self-guided walk takes 45 minutes to
complete. Guidebooks are available on the trail to the ruin. A Ranger is
on duty in the dwelling to answer any questions. This ruin may be
visited anytime between 9:15 a.m. and 5:15 p.m.
Mini-Train
[Illustration: {Petroglyph}]
Departs from the kiosk area every ½-hour from 9:00 a.m. to 5:00 p.m.
There may be an hour wait for tours. You must ride the mini-train to
visit:
• The Ranger guided tour at Long House
• The self-guided Badger House Community walk
• The Kodak House Overlook
• The Long House Overlook
• The Nordenskiöld’s Ruin #16
Long House: This Ranger guided tour of the Park’s second largest
dwelling leaves every ½-hour from 9:00 a.m. to 5:00 p.m. at the trail
head. The total round trip walking distance is ½-mile and takes
approximately one hour.
Note: Tours are limited to 50 people on a first come, first served
basis. This tour is not recommended for those with a heart condition.
Last tour to Long House leaves from the kiosk at 5:00 p.m.
Badger House Community: This ¾-mile self-guided trail will take you to
four mesa top ruins.
1. Modified Basketmaker Pithouse
2. Pueblo Village and Great Kiva
3. Badger House
4. Two Raven House
Guidebooks are available at the beginning of the trail and a Ranger will
be roving the trail in order to answer any questions or provide
assistance. This ruin may be visited anytime between 9:45 a.m. and 5:30
p.m. Visitors taking the 5:00 p.m. tour (last tour) to Long House will
not be able to visit Badger House or Step House.
Two Overlooks: Kodak viewpoint and Long House viewpoint.
NOTICE: The mini-train and most trails are accessible by wheelchair.
• All hiking is restricted. Ask a Ranger for hiking information.
• Smoking is restricted to the parking area.
• Pets are not allowed beyond the parking area.
• Please use trash cans.
The ARA (concessioner) van departs from Far View Lodge at 9:30 a.m.
[Illustration: {Cliff houses}]
[Illustration: WETHERILL MESA]
STEP HOUSE
Trail (Self-Guided)
RANGER STATION
RESTROOMS
FOOD SERVICE
INFORMATION
MINI-TRAIN LOADING AREA
NORDENSKIÖLD’S RUIN #16
LONG HOUSE
Ranger Guided Tours
BADGER HOUSE
Community Trail (Self-Guided)
BADGER HOUSE Stop
TWO RAVEN HOUSE
Stop
KODAK HOUSE
Overlook
Stop
LONG HOUSE
Overlook
Stop
PUEBLO VILLAGE
Stop
Legend
Paved Road
Foot Path
Trailhead
Primary Trailhead
[Illustration: {Mesa Verde Museum Association Logo}]
This booklet was published by the
MESA VERDE MUSEUM ASSOCIATION, INC.
(No government funds were expended)
FOR YOUR SAFETY
Do not allow your visit to be spoiled by an accident. Efforts have
been made to provide for your safety and comfort. Warning signs are
placed among the ruins and along trails and walls, but there are still
hazards that require your alertness and vigilance. Please exercise
common sense and caution.
HELP US PROTECT THIS NATIONAL PARK
Please leave plants, animals, rocks and other natural and manmade
features undisturbed. Under the 1906 Federal Antiquities Act and the
Archeological Resource Protection Act of 1979, it is unlawful to
appropriate, excavate, injure, or destroy any historic or prehistoric
ruin or any object of antiquity on federal lands.
Transcriber’s Notes
—Silently corrected a few typos.
—Retained publication information from the printed edition: this eBook
is public-domain in the country of publication.
—In the text versions only, text in italics is delimited by
_underscores_.
End of Project Gutenberg's Trail Guide: Badger House Community, by Anonymous
*** END OF THE PROJECT GUTENBERG EBOOK BADGER HOUSE COMMUNITY: TRAIL GUIDE ***
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.
