Supervision Concepts and Skill-Building 8th Edition Certo Test Bank
Supervision Concepts and Skill-Building 8th Edition Certo Test Bank
Supervision Concepts and Skill-Building 8th Edition Certo Test Bank
Supervision Concepts and Skill-Building 8th Edition Certo Test Bank
1. Download the full version and explore a variety of test banks
or solution manuals at https://testbankdeal.com
Supervision Concepts and Skill-Building 8th
Edition Certo Test Bank
_____ Follow the link below to get your download now _____
https://testbankdeal.com/product/supervision-concepts-and-
skill-building-8th-edition-certo-test-bank/
Access testbankdeal.com now to download high-quality
test banks or solution manuals
2. We have selected some products that you may be interested in
Click the link to download now or visit testbankdeal.com
for more options!.
Supervision Concepts and Skill-Building 8th Edition Certo
Solutions Manual
https://testbankdeal.com/product/supervision-concepts-and-skill-
building-8th-edition-certo-solutions-manual/
Supervision Concepts and Skill Building 10th Edition Certo
Test Bank
https://testbankdeal.com/product/supervision-concepts-and-skill-
building-10th-edition-certo-test-bank/
Supervision Concepts and Skill-Building 10th Edition Certo
Solutions Manual
https://testbankdeal.com/product/supervision-concepts-and-skill-
building-10th-edition-certo-solutions-manual/
Brief Calculus An Applied Approach 9th Edition Larson Test
Bank
https://testbankdeal.com/product/brief-calculus-an-applied-
approach-9th-edition-larson-test-bank/
3. Corrections Today 2nd Edition Siege Test Bank
https://testbankdeal.com/product/corrections-today-2nd-edition-siege-
test-bank/
Investments Analysis and Management 12th Edition Jones
Test Bank
https://testbankdeal.com/product/investments-analysis-and-
management-12th-edition-jones-test-bank/
Concepts in Federal Taxation 2017 24th Edition Murphy
Solutions Manual
https://testbankdeal.com/product/concepts-in-federal-
taxation-2017-24th-edition-murphy-solutions-manual/
Oral Pathology for the Dental Hygienist 6th Edition Ibsen
Test Bank
https://testbankdeal.com/product/oral-pathology-for-the-dental-
hygienist-6th-edition-ibsen-test-bank/
College Algebra Graphs and Models 5th Edition Bittinger
Test Bank
https://testbankdeal.com/product/college-algebra-graphs-and-
models-5th-edition-bittinger-test-bank/
23. "Got to think about the future, you know. Can't keep you here
forever. Nasty unreasonable prejudice against keeping well men in
hospitals."
Vyrko allowed the expected laugh to come forth. "But since," he
said, gladly accepting the explanation that was so much more
credible than the truth, "I haven't any idea who I am, where I live,
or what my profession is—"
"Can't remember anything? Don't know if you can take shorthand,
for instance? Or play the bull fiddle?"
"Not a thing." Vyrko felt it hardly worth while to point out his one
manual accomplishment, the operation of the as-yet-uninvented
electronic typewriter.
"Behold," he thought, "the Man of the Future. I've read all the time
travel stories. I know what should happen. I teach them everything
Kirth-Labbery knew and I'm the greatest man in the world. Only the
fictional time travel never happens to a poor dope who took for
granted all the science around him, who pushed a button or turned a
knob and never gave a damn what happened or why. Here they're
just beginning to get two-dimensional black-and-white short-range
television. We had (will have?) stereoscopic full-color world-wide
video—which I'm about as capable of constructing here as my friend
the doctor would be of installing electric light in Ancient Rome. The
Mouse of the Future...."
The doctor had been thinking, too. He said, "Notice you're a great
reader. Librarian's been telling me about you—went through the
whole damn hospital library like a bookworm with a tapeworm!"
Vyrko laughed dutifully. "I like to read," he admitted.
"Ever try writing?" the doctor asked abruptly, almost in the tone in
which he might reluctantly advise a girl that her logical future lay in
Port Saïd.
This time Vyrko really laughed. "That does seem to ring a bell, you
know.... It might be worth trying. But at that, what do I live on until
24. I get started?"
"Hospital trustees here administer a rehabilitation fund. Might
wangle a loan. Won't be much, of course; but I always say a single
man's got only one mouth to feed—and if he feeds more, he won't
be single long!"
"A little," said Vyrko with a glance at the newspaper headlines,
"might go a long way."
It did. There was the loan itself, which gave him a bank account on
which, in turn, he could acquire other short-term loans—at
exorbitant interest. And there was the election.
He had finally reconstructed what he should know about it. There
had been a brilliant Wheel-of-If story in one of the much later pulps,
on If the Republicans had won the 1948 election. Which meant that
actually they had lost; and here, in October of 1948, all newspapers,
all commentators, and most important, all gamblers, were convinced
that they must infallibly win.
On Wednesday, November third, Vyrko repaid his debts and settled
down to his writing career, comfortably guaranteed against
immediate starvation.
A half-dozen attempts at standard fiction failed wretchedly. A matter
of "tone," editors remarked vaguely, on the rare occasions when
they did not confine themselves to the even vaguer phrases of
printed rejection forms. A little poetry sold—"if you can call that
selling," Vyrko thought bitterly, comparing the financial position of
the poet here and in his own world.
His failures were beginning to bring back the bitterness and
boredom, and his thoughts turned more and more to that future to
which he could never know the answer.
25. Twins. It had to be twins—of opposite sexes, of course. The only
hope of the continuance of the race lay in a matter of odds and
genetics.
Odds.... He began to think of the election bet, to figure other angles
with which he could turn foreknowledge to profit. But his pulp-
reading had filled his mind with fears of the paradoxes involved. He
had calculated the election bets carefully; they could not affect the
outcome of the election, they could not even, in their proportionately
small size, affect the odds. But any further step....
Vyrko was, like most conceited men, fond of self-contempt, which he
felt he could occasionally afford to indulge in. Possibly his strongest
access of self-contempt came when he realized the simplicity of the
solution to all his problems.
He could write for the science fiction pulps.
The one thing that he could handle convincingly and skilfully, with
the proper "tone," was the future. Possibly start off with a story on
the Religious Wars; he'd done all that research on his novel. Then....
It was not until he was about to mail the manuscript that the full
pattern of the truth struck him.
Soberly, yet half-grinning, he crossed out KIRTH VYRKO on the first
page and wrote NORBERT HOLT.
Manning Stern rejoiced loudly in this fresh discovery. "This boy's got
it! He makes it sound so real that...." The business office was
instructed to pay the highest bonus rate (unheard of for a first story)
and an intensely cordial letter went to the author outlining
immediate needs and offering certain story suggestions.
The editor of Surprising was no little surprised at the answer:
26. ... I regret to say that all my stories will be based on one
consistent scheme of future events and that you must allow me
to stick to my own choice of material....
"And who the hell," Manning Stern demanded, "is editing this
magazine?" and dictated a somewhat peremptory suggestion for a
personal interview.
The features were small and sharp, and the face had a sort of dark
aliveness. It was a different beauty from Lavra's, and an infinitely
different beauty from the curious standards set by the 1949 films;
but it was beauty and it spoke to Norbert Holt.
"You'll forgive a certain surprise, Miss Stern," he ventured. "I've read
Surprising for so many years and never thought...."
Manning Stern grinned. "That the editor was also surprising? I'm
used to it—your reaction, I mean. I don't think I'll ever be quite used
to being a woman ... or a human being, for that matter."
"Isn't it rather unusual? From what I know of the field...."
"Please God, when I find a man who can write, don't let him go all
male-chauvinist on me! I'm a good editor," said she with becoming
modesty (and don't you ever forget it!), "and I'm a good scientist. I
even worked on the Manhattan Project—until some character
discovered that my adopted daughter was a Spanish War orphan.
But what we're here to talk about is this consistent-scheme gimmick
of yours. It's all right, of course; it's been done before. But where I
frankly think you're crazy is in planning to do it exclusively."
Norbert Holt opened his briefcase. "I've brought along an outline
that might help convince you...."
An hour later Manning Stern glanced at her watch and announced,
"End of office hours! Care to continue this slugfest over a martini or
five? I warn you—the more I'm plied, the less pliant I get."
27. And an hour after that she stated, "We might get some place if we'd
stay some place. I mean the subject seems to be getting elusive."
"The hell," Norbert Holt announced recklessly, "with editorial
relations. Let's get back to the current state of the opera."
"It was paintings. I was telling you about the show at the—"
"No, I remember now. It was movies. You were trying to explain the
Marx Brothers. Unsuccessfully, I may add."
"Un ... suc ... cess ... fully," said Manning Stern ruminatively. "Five
martinis and the man can say unsuccessfully successfully. But I try to
explain the Marx Brothers yet! Look, Holt. I've got a subversive
orphan at home and she's undoubtedly starving. I've got to feed her.
You come home and meet her and have potluck, huh?"
"Good. Fine. Always like to try a new dish."
Manning Stern looked at him curiously. "Now was that a gag or not?
You're funny, Holt. You know a lot about everything and then all of a
sudden you go all Man-from-Mars on the simplest thing. Or do
you...? Anyway, let's go feed Raquel."
And five hours later Holt was saying, "I never thought I'd have this
reason for being glad I sold a story. Manning, I haven't had so much
fun talking to—I almost said 'to a woman.' I haven't had so much
fun talking since—"
He had almost said since the agnoton came. She seemed not to
notice his abrupt halt. She simply said "Bless you, Norb. Maybe you
aren't a male-chauvinist. Maybe even you're.... Look, go find a
subway or a cab or something. If you stay here another minute, I'm
either going to kiss you or admit you're right about your stories—and
I don't know which is worse editor-author relations."
Manning Stern committed the second breach of relations first. The
fan mail on Norbert Holt's debut left her no doubt that Surprising
28. would profit by anything he chose to write about.
She'd never seen such a phenomenally rapid rise in author
popularity. Or rather you could hardly say rise. Holt hit the top with
his first story and stayed there. He socked the fans (Guest of Honor
at the Washinvention), the pros (first President of Science Fiction
Writers of America), and the general reader (author of the first pulp-
bred science fiction book to stay three months on the best seller
list).
And never had there been an author who was more pure damned
fun to work with. Not that you edited him; you checked his copy for
typos and sent it to the printers. (Typos were frequent at first; he
said something odd about absurd illogical keyboard arrangement.)
But just being with him, talking about this, that and those.... Raquel,
just turning sixteen, was quite obviously in love with him—praying
that he'd have the decency to stay single till she grew up and "You
know, Manningcita, I am Spanish; and the Mediterranean girls...."
But there was this occasional feeling of oddness. Like the potluck
and the illogical keyboard and that night at SCWA....
"I've got a story problem," Norbert Holt announced there. "An idea,
and I can't lick it. Maybe if I toss it out to the literary lions...."
"Story problem?" Manning said, a little more sharply than she'd
intended. "I thought everything was outlined for the next ten years."
"This is different. This is a sort of paradox story, and I can't get out
of it. It won't end. Something like this: Suppose a man in the remote
year X reads a story that tells him how to work a time machine. So
he works the time machine and goes back to the year X minus 2000
—let's say, for instance, our time. So in 'now' he writes the story that
he's going to read two thousand years later, telling himself how to
work the time machine because he knows how to work it because he
read the story which he wrote because—"
Manning was starting to say "Hold it!" when Matt Duncan interrupted
with, "Good old endless-cycle gimmick. Lot of fun to kick around, but
29. Bob Heinlein did it once and for all in By His Bootstraps. Damnedest
tour de force I ever read; there just aren't any switcheroos left."
"Ouroboros," Joe Henderson contributed.
Norbert Holt looked a vain question at him; they knew that one word
per evening was Joe's maximum contribution.
Austin Carter picked it up. "Ouroboros, the worm, that circles the
universe with its tail in its mouth. The Asgard Serpent, too. And I
think there's something in Mayan literature. All symbols of infinity—
no beginning, no ending. Always out by the same door where you
went in. See that magnificent novel of Eddison's, The Worm
Ouroboros; the perfect cyclic novel, ending with its
recommencement, stopping not because there's a stopping place,
but because it's uneconomical to print the whole text over infinitely."
"The Quaker Oats box," said Duncan. "With a Quaker holding a box
with a Quaker holding a box with a Quaker holding a...."
It was standard professional shop-talk. It was a fine evening with
the boys. But there was a look of infinitely remote sadness in
Norbert Holt's eyes.
That was the evening that Manning violated her first rule of editor-
author relationships.
They were having martinis in the same bar in which Norbert had, so
many years ago, successfully said unsuccessfully.
"They've been good years," he remarked, apparently to the olive.
There was something wrong with this evening. No bounce. No
yumph. "That's a funny tense," Manning confided to her own olive.
"Aren't they still good years?"
"I've owed you a serious talk for a long time."
30. "You don't have to pay the debt. We don't go in much for being
serious, do we? Not so dead-earnest-catch-in-the-throat serious."
"Don't we?"
"I've got an awful feeling," Manning admitted, "that you're building
up to a proposal, either to me or that olive. And if it's me, I've got
an awful feeling I'm going to accept—and Raquel will never forgive
me."
"You're safe," Norbert said dryly. "That's the serious talk. I want to
marry you, darling, and I'm not going to."
"I suppose this is the time you twirl your black mustache and tell me
you have a wife and family elsewhere?"
"I hope to God I have!"
"No, it wasn't very funny, was it?" Manning felt very little, aside from
wishing she were dead.
"I can't tell you the truth," he went on. "You wouldn't believe it. I've
loved two women before; one had talent and a brain, the other had
beauty and no brain. I think I loved her. The damnedest curse of
Ouroboros is that I'll never quite know. If I could take that tail out of
that mouth...."
"Go on," she encouraged a little wildly. "Talk plot-gimmicks. It's
easier on me."
"And she is carrying ... will carry ... my child—my children, it must
be. My twins...."
"Look, Holt. We came in here editor and author—remember back
when? Let's go out that way. Don't go on talking. I'm a big girl, but I
can't take ... everything. It's been fun knowing you and all future
manuscripts will be gratefully received."
"I knew I couldn't say it. I shouldn't have tried. But there won't be
any future manuscripts. I've written every Holt I've ever read."
31. "Does that make sense?" Manning aimed the remark at the olive, but
it was gone. So was the martini.
"Here's the last." He took it out of his breast-pocket, neatly folded.
"The one we talked about at SCWA—the one I couldn't end. Maybe
you'll understand. I wanted somehow to make it clear before...."
The tone of his voice projected a sense of doom, and Manning
forgot everything else. "Is something going to happen to you? Are
you going to—Oh, my dear, no! All right, so you, have a wife on
every space station in the asteroid belt; but if anything happens to
you...."
"I don't know," said Norbert Holt. "I can't remember the exact date
of that issue...." He rose abruptly. "I shouldn't have tried a goodbye.
See you again, darling—the next time round Ouroboros."
She was still staring at the empty martini glass when she heard the
shrill of brakes and the excited up-springing of a crowd outside.
She read the posthumous fragment late that night, after her eyes
had dried sufficiently to make the operation practicable. And through
her sorrow her mind fought to help her, making her think, making
her be an editor.
She understood a little and disbelieved what she understood. And
underneath she prodded herself, "But it isn't a story. It's too short,
too inconclusive. It'll just disappoint the Holt fans—and that's
everybody. Much better if I do a straight obit, take up a full page on
it...."
She fought hard to keep on thinking, not feeling. She had never
before experienced so strongly the I-have-been-here-before
sensation. She had been faced with this dilemma once before, once
on some other time-spiral, as the boys in SCWA would say. And her
decision had been....
32. "It's sentimentality," she protested. "It isn't editing. This decision's
right. I know it. And if I go and get another of these attacks and
start to change my mind...."
She laid the posthumous Holt fragment on the coals. It caught fire
quickly.
The next morning Raquel greeted her with, "Manningcita, who's
Norbert Holt?"
Manning had slept so restfully that she was even tolerant of foolish
questions at breakfast. "Who?" she asked.
"Norbert Holt. Somehow the name popped into my mind. Is he
perhaps one of your writers?"
"Never heard of him."
Raquel frowned. "I was almost sure.... Can you really remember
them all? I'm going to check those bound volumes of Surprising."
"Any luck with your ... what was it...? Holt?" Manning asked the girl
a little later.
"No, Manningcita. I was quite unsuccessful."
... unsuccessful.... Now why in Heaven's name, mused Manning
Stern, should I be thinking of martinis at breakfast time?
33. *** END OF THE PROJECT GUTENBERG EBOOK TRANSFER POINT
***
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
35. 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.
36. 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:
37. 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
38. 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
39. 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
40. 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,
41. 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
42. 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
43. 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.
44. 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.
45. Welcome to our website – the perfect destination for book lovers and
knowledge seekers. We believe that every book holds a new world,
offering opportunities for learning, discovery, and personal growth.
That’s why we are dedicated to bringing you a diverse collection of
books, ranging from classic literature and specialized publications to
self-development guides and children's books.
More than just a book-buying platform, we strive to be a bridge
connecting you with timeless cultural and intellectual values. With an
elegant, user-friendly interface and a smart search system, you can
quickly find the books that best suit your interests. Additionally,
our special promotions and home delivery services help you save time
and fully enjoy the joy of reading.
Join us on a journey of knowledge exploration, passion nurturing, and
personal growth every day!
testbankdeal.com