The New Despotism John Keane

Visit to download the full and correct content document:

https://ebookmass.com/product/the-new-despotism-john-keane/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...

To Kill A Democracy: India's Passage to Despotism

Debasish Roy Chowdhury And John Keane

https://ebookmass.com/product/to-kill-a-democracy-indias-passage-
to-despotism-debasish-roy-chowdhury-and-john-keane/

The New Cratylus John William Donaldson

https://ebookmass.com/product/the-new-cratylus-john-william-
donaldson/

Ethnopolitics in the New Europe John T. Ishiyama

https://ebookmass.com/product/ethnopolitics-in-the-new-europe-
john-t-ishiyama/

New Songs for Orpheus John Reibetanz

https://ebookmass.com/product/new-songs-for-orpheus-john-
reibetanz/
Bird Migration: A New Understanding John H. Rappole

https://ebookmass.com/product/bird-migration-a-new-understanding-
john-h-rappole/

The New Documents in Mycenaean Greek: Volume 1,

Introductory Essays John Killen

https://ebookmass.com/product/the-new-documents-in-mycenaean-
greek-volume-1-introductory-essays-john-killen/

New Voices and New Perspectives in International

Economic Law 1st ed. 2020 Edition John D. Haskell

https://ebookmass.com/product/new-voices-and-new-perspectives-in-
international-economic-law-1st-ed-2020-edition-john-d-haskell/

Forging a New South: The Life of General John T. Wilder

1st Edition Nicely

https://ebookmass.com/product/forging-a-new-south-the-life-of-
general-john-t-wilder-1st-edition-nicely/

Mainstream Maverick: John Hughes and New Hollywood

Cinema Holly Chard

https://ebookmass.com/product/mainstream-maverick-john-hughes-
and-new-hollywood-cinema-holly-chard/
The New Despotism
john keane

The New
Despotism

harvard university press

Cambridge, Mas­sa­chu­setts
London, E
­ ngland
2020
Copyright © 2020 by John Keane
All rights reserved
Printed in the United States of Amer­i­ca

First printing

Cover design: Lisa Roberts

Cover art: BrilliantEye | Getty Images

9780674246690 (EPUB)
9780674246706 (MOBI)
9780674246713 (PDF)

The Library of Congress has cataloged the printed edition as follows:

Names: Keane, John, 1949– author.

Title: The new despotism / John Keane.
Description: Cambridge, Massachusetts : Harvard University Press, 2020. |
Includes bibliographical references and index.
Identifiers: LCCN 2019056411 | ISBN 9780674660069 (cloth)
Subjects: LCSH: Authoritarianism. | Democracy. | Democratic centralism.
Classification: LCC JC480 .K43 2020 | DDC 320.53—dc23
LC record available at https://lccn.loc.gov/2019056411
For George and Alice, always
Contents

Dark Times, Again 1

Wealth, Money, Power 31
A Phantom ­People 71
Media Power 111
Velvet Fists 155
Why Despotism? 197
Democracy’s F
­ uture 223

Further Reading 257

Notes 261
Index 299
The New Despotism
Someone must watch, it is said.
Someone must be t­ here.
—­f ranz kafka
Dark Times, Again
Desolation Row
Each age suffers moments of ­bitter disappointment, and so it was
at the beginning of the new c­ entury, when hopes faded for that
­thing every­body called democracy. Citizens with a taste for public
affairs had grown gloomy. Opinions differed about why the democ-
racy they had lived and loved for a generation now sleepwalked
and stumbled into confusion, ­toward impotence, or outright irrel-
evance. The disappointed pinned blame on out-­of-­touch govern-
ments, corrupt politicians, sluggish economies, greedy banks,
predatory corporations, and the spread of hate crimes and con-
tempt for the rule of law. ­Those who stayed optimistic, hoping
against hope, supposed the demise of democracy could be reversed
and that at some point, helped by a change of government, ­things
would improve. Global surveys showed they ­were in the minority.1
Many more citizens felt dragged down by economic dissatisfac-
tion and anger at po­liti­cal elites, broken promises, social injustices,
disorder and decline. As if to prove old Machiavelli’s observa-
tion that the road to hell is easy, since it is downhill and followed
with eyes shut, just as many p ­ eople simply d
­ idn’t care. With a
shrug of shoulders and wave of hand, they cursed ­u nder their
breath. Yet amid all the anger, despondency, and muddle during
­those years, t­ here was one general point of agreement: within states
that had been known as democracies, rot and decay had the upper
hand. ­Th ings w ­ ere g­ oing badly—­much worse than anybody had
expected.
A mea­sure of the gloom of ­those years was the way American
po­liti­cal scientists—­once the trumpeters of good news about the
global triumph of democracy, as if it was ­human destiny—­spoke
in mournful tones about the fading of the demo­cratic dream. Com-
munism was dead and postcolonial dictators had fallen like flies.
Yet the g­ rand march of history no longer appeared to f­avor de-
mocracy. The world in fact faced “more authoritarian momentum
and greater demo­cratic instability than at any time in the last
several de­cades,” wrote a respected leader in the field.2 ­Others
talked cheerlessly of an existential crisis of liberal democracy or
warned that its slow-­motion death caused by extreme wealth in­
equality, poor health care, mass shootings, and opioid addiction
was on the horizon.
Once upon a time, ran the lament, the most power­f ul democ-
racy, the United States of Amer­i­ca, functioned as a “shining city
upon a hill” (­t hose w
­ ere President Ronald Reagan’s parting words
upon leaving the Oval Office in January 1989). Liberal democracy
had done “more to spread peace and prosperity than any other
[po­liti­cal system] in the history of humanity.” During the 1980s
and 1990s, “freedom flourished, markets expanded, civil socie­
ties grew, representative institutions strengthened, and democ-
racy became, for the first time in h­ uman history, the most common
form of government.”
But in the United States, as elsewhere in the demo­cratic world,
the ideals of popu­lar self-­government faced a “gathering global
crisis.” Democracy found itself on desolation row. ­There ­were chal-

4 the n ew despotism
lenges such as “economic stagnation, income in­equality, immi-
gration.” Disappointment with democracy had become palpable,
spearheaded by “working class white voters with ­limited skills and
education, who feel culturally displaced and eco­nom­ically threat-
ened by immigration, globalization, and racial and cultural diver-
sity.” More than a few middle-­class voters felt the same. The w ­ hole
dynamic fed support for a new wave of nasty “pop­u ­lism and
illiberalism.”3
Understandably, ­these trends spooked more than a few ­people
living in the United States, a global empire gripped by a sense of
national decline. When peering into the ­future, a clear majority of
its citizens, often more than seven in ten, predicted that the gap
between rich and poor in their society would widen, their leaders
would fail to solve the country’s biggest prob­lems, and their coun-
try’s global influence would continue to shrink.4 The trend was not
confined to the United States. Practically all po­liti­cal ­orders called
democracy w ­ ere plagued by institutional dysfunctions, growing so-
cial in­equality, and public disillusionment. Most ­were no longer
regarded as paragons of probity, fairness, and stability.
It is true that public disaffection with democracy w ­ asn’t the
­whole story. Positive t­hings had happened: they ranged from
whistle-­blowing and public exposure of corruption by civil society
watchdogs to local efforts to build basic-income schemes and pro-
tect refugees, mi­g rants, and homeless ­people. Feminists every-
where contested male-­dominated institutions and everyday prac-
tices damaged by misogynist double standards. In the name of
democracy, a word whose semantic fuzziness kept alive its public
appeal, several long-­term countertrends managed to survive, in-
cluding self-­government experiments among indigenous p ­ eoples,
the extension of citizenship rights to c­ hildren, Finland-­style parlia-
mentary scrutiny of the impact of legislation on ­future generations,

Dark Times, Again 5

and the po­liti­cal enfranchisement of the biosphere. The advances
served as reminders that time’s arrow does not fly in a straight
line and that democracy is marked by braided tempos and mul-
tiple rhythms. The countertrends contradicted the prevailing
fracasomania: the dogmatic belief that the decomposition of de-
mocracy was unstoppable and that every­thing therefore had to be
changed b ­ ecause nothing worked any more. The demo­cratic ad-
vances certainly handed cheer to sullen observers. Some even used
questionable biological meta­phors to claim that although democ-
racies have a beginning and an end, it was too early to announce
their death. They w ­ ere only “­going through a mid-­life crisis.”5
Despite such reassurances, the sad fact was that in t­ hose years
of the new ­century, in a wide range of countries, multiple forces
pushed the spirit and substance of democracy ­toward the cliff’s
edge. This was certainly true in the field of international relations,
where US officials dropped talk of democracy promotion and
sided openly with scoundrels worldwide. The cluster of nominally
demo­cratic states known as the Eu­ro­pean Union did much the
same by choosing—­for instance, at the February 2019 EU–­Arab
League summit—to suck up to their opponents. “Sometimes you
have to dance with whoever’s on the dance floor,” said the cold-­
sober Dutch prime minister, Mark Rutte, at another event. His de-
fense of Eu­rope as the “bedrock of freedom, democracy and the
rule of law” and his simultaneous call for it to be “streetwise” and
“less naive and more realistic” revealed the extent to which Eu­rope
had lost both the confidence and the ability to spread the spirit and
institutions of power-­sharing democracy beyond its borders.6
Double standards flourished at home too, as a wide range of de-
mocracies failed to deliver on their promises of social equality
and good government. Surveys showed that less than a quarter
(24 ­percent) of Latin Amer­i­ca’s citizens ­were happy with the way

6 the n ew despotism
democracy worked in their countries, the lowest figure since polling
began. The reasons ­were not hard to find. More than a third of
Argentina’s 44 million ­people lived in shantytown poverty. ­After
2000, when the shift to multiparty democracy in Mexico had
begun, the number of ­people officially living beneath the poverty
line increased to over 50 ­percent of the population. Fed by a crim-
inal reserve army of the poor, mafia vio­lence grew by alarming pro-
portions. Scores of elected city mayors w ­ ere assassinated, several
hundred journalists ­were murdered or dis­appeared, and more than
a quarter of a million citizens w ­ ere robbed of their lives.7 Indian
democracy was similarly gripped by morbid symptoms. It hosted
fourteen of the world’s most polluted cities. ­There ­were more poor
­people in eight Indian states than in the twenty-­six countries of
sub-­Saharan Africa. India’s public hospitals ­were often death traps.
Vio­lence was everywhere: knives, guns, and bombs, wielded by
cavalcades of men in cars and on bikes, w ­ ere often weapons of
choice in po­liti­cal turf wars. Studies ranked India as the most dan-
gerous country for ­women. A high court judge estimated that it
would take the Indian judiciary 320 years to clear the backlog of
more than 32 million cases.8
The citizens of India and other democracies, meanwhile, found
themselves confronted by the po­liti­cal dangers and antisocial ef-
fects of g­ iant digital media platforms designed to harvest personal
data for sale to advertisers and to hook users by spreading hate
speech, conspiracy theories, revenge porn, and other pernicious
content.9 The de­cadence had additional sources.
Almost e­ very democracy felt the truth of the old observation
that t­ here are historical moments when “demo­cratic sovereignty”
is converted into “a cloak to cover the nakedness of a government
that does business for the kept classes.”10 Daily life was scarred by
widening gaps between rich and poor and by the emergence of a

Dark Times, Again 7

Another random document with
no related content on Scribd:
ruine et le désespoir qui sont attachés à ce signe d’où tombent les
ténèbres. Et quelles ténèbres !
C’est le chef-d’œuvre de Luther, cent ans après que la Fleur du
Moyen Age avait été suffoquée dans les flammes horribles d’un
bûcher, d’avoir substitué à la douce Croix de bois qui avait consolé
les peuples et fortifié les Martyrs, cette croix de fer implacable dont
le monde est épouvanté. Ce que les démons du Nord ont voulu
nommer la culture allemande est, à quatre siècles de distance, la
maturité complète, obtenue enfin, du fruit de l’arbre maudit où se
pendit le mauvais apôtre. C’est l’épanouissement définitif et suprême
du luthéranisme.
Luther enseigne, par exemple, que les clercs concubinaires se
réformeront en faisant de leur désordre même la règle générale.
Méthode de réforme particulièrement adaptée au génie germanique,
ainsi que l’a fait remarquer avec profondeur, dans ses conférences
sur la philosophie allemande, Jacques Maritain, l’adversaire
victorieux et déjà célèbre de Bergson.
« Le mal existe ? Nous le déclarons légitime et nécessaire par lui-
même. Nous placerons même son premier fondement en Dieu,
comme faisait Jacob Bœhme. Voici le moi allemand avec ses
instincts de nature ? Nous le proclamons, avec Fichte, le type
humain par excellence, auquel tout doit céder. Voici la guerre qui
réveille toujours, en fait, des impulsions barbares ? Nous ferons de
la barbarie la règle même de la guerre qui sera d’autant meilleure
qu’elle sera plus barbare. »
Au résumé : « Révolte de l’Allemagne contre la chrétienté, voilà
tout le fond de la Réforme… Ce qui était rebut et déchéance pour le
catholicisme est devenu norme et fondement dans le protestantisme
et, par lui, dans le monde et la pensée moderne… L’exercice de la
haine et de la cruauté regardé en lui-même comme un office de
religion, accompli au nom du Christ et de l’Évangile. Dieu avec nous,
Gott mit uns !… Telle est l’Allemagne de Luther, l’Allemagne que
nous voyons à l’œuvre aujourd’hui, pour laquelle suivre les instincts
de convoitise, de mensonge, de haine et de luxure, c’est être avec
Dieu. »
 Telle fut l’œuvre de Luther qui trouva une Allemagne si bien
préparée à recevoir sa doctrine qu’aussitôt après le début de son
apostolat, entre 1525 et 1530, il put en constater lui-même les effets.
Voici les propres paroles de ce patriarche de la culture allemande :
« Aujourd’hui, les nôtres sont sept fois plus mauvais qu’ils ne
l’avaient jamais été auparavant. Nous volons, nous mentons, nous
trompons, nous mangeons et buvons avec excès et nous nous
adonnons à tous les vices… Nous autres Allemands, nous sommes
devenus la risée et la honte de tous les peuples ; ils nous tiennent
pour des pourceaux ignominieux et obscènes… Si l’on voulait
maintenant peindre l’Allemagne, il faudrait la représenter sous les
traits d’une truie. » Et le même Luther qu’on croit entendre parler en
1915, du fond de son gouffre, déplore, sans aucune sincérité
d’ailleurs, « d’être né Allemand, d’avoir parlé et écrit en allemand, et
il désire mourir pour ne pas assister au châtiment divin prêt à tomber
sur l’Allemagne ».
On remplirait un volume de ces témoignages de Luther qui ne
connut jamais le repentir, mais qui espérait peut-être sauvegarder
ainsi sa mémoire, en même temps qu’il se réjouissait comme un
démon de l’avilissement épouvantable dont il avait été l’artisan. Pour
une nation de brutes cultivées en tant que brutes, il s’agissait donc
uniquement de devenir la plus forte matériellement et de mériter la
Croix de fer qui est le signe de la force matérielle. C’est l’Allemagne
contemporaine contre laquelle doivent s’armer aujourd’hui toutes les
puissances de la terre.
Les horreurs actuelles ont un aspect d’apocalypse qui se
précisera davantage encore, on peut le prévoir. Mais la Croix de fer
sera vaincue à la fin par la Croix de bois, parce que celle-ci est le
choix de Dieu et le signe de sa dilection. Il se peut, au cours des
événements inimaginables dont la présente guerre paraît être
seulement le prélude, que la France monte à son tour sur le bûcher
de l’Héroïne, condamnée comme elle par ses prêtres apostats qui
ont renié la Mère de Dieu lorsqu’elle pleurait sur la Montagne de la
Salette, en les accusant. Oui, la France, responsable toujours de ses
chefs spirituels, pourrait bien être condamnée, par leur infidélité
criminelle, à périr dans d’horribles flammes. Il lui resterait alors la
pauvre Croix de bois de Jeanne d’Arc dont elle ne veut pas en ce
moment, mais qui la sauverait miraculeusement à la dernière heure
pour que le genre humain ne fût pas perdu.
La Croix des indigents et des vagabonds, la douce Croix des
vieux chemins dans les campagnes, l’accueillante Croix des
miséreux, des courbatus, des pieds en sang, des cœurs en larmes,
de ceux qui ont été mordus par les serpents du désert et qui
guérissent de leurs blessures en la regardant, la Croix de misère et
de gloire !

Bourg-la-Reine, 6 février 1915.

 TABLE

Pages
Dédicace 5
Introduction 9
Méditation préliminaire 37
I. — Le Lieutenant de Jésus-Christ 47
II. — L’Angélique 65
III. — Le Miracle 81
IV. — « Dii estis » 91
V. — L’Épopée 101
VI. — La Guerrière 119
VII. — La Prophétesse 139
VIII. — La Thaumaturge 155
IX. — Les Amis 169
X. — Les Ennemis 181
XI. — Les Larmes 203
XII. — « Évêque, je meurs par vous ! » 211
XIII. — L’Holocauste. 239
Conclusion. — La Croix de bois et la Croix de fer 257
 Principaux ouvrages à consulter.

Siméon Luce. Jeanne d’Arc à Domremy. (Recherches critiques sur

les origines de la Mission de la Pucelle, accompagnées de
pièces justificatives.) Paris, Champion, 1886.
La première partie de ce travail avait paru en 3 articles dans la
Revue des Deux Mondes : Jeanne d’Arc et les Ordres mendiants
(mai 1881) ; Jeanne d’Arc et le culte du Mont Saint-Michel
(décembre 1882) ; Jeanne d’Arc à Domremy (mai 1885).
Quicherat Jules, Directeur de l’École des Chartes. Procès de
condamnation et de réhabilitation de Jeanne d’Arc, publiés pour
la première fois d’après les manuscrits de la Bibliothèque, suivis
de tous les documents historiques. Société de l’histoire de
France. Paris, Jules Renouard, 1841 à 1849. 5 vol. in-8.
Aperçus nouveaux sur l’histoire de Jeanne d’Arc. Paris, Renouard,
1850.
Vallet de Viriville. Histoire de Charles VII, roi de France, et de
son époque (1403-1461). 3 vol. in-8. Paris, Renouard, 1863-
1865.
O’Reilly. Les deux procès de condamnation, les enquêtes et la
sentence de réhabilitation de Jeanne d’Arc, 2 vol. in-8. Paris,
Plon, 1868.
Henri Chapoy. Les Compagnons de Jeanne d’Arc. Domremy-Reims
(1412-1429). Paris, Bloud et Barral, 1897.
Steenackers. Agnès Sorel et Charles VII. Paris, Didier, 1868.
H. Wallon. Jeanne d’Arc. Paris, Didot, 1876.
Paul Marin. Jeanne Darc, tacticien et stratégiste, 2 vol. Paris,
Baudoin, 1889-1890.
Général Frédéric Canonge. Jeanne d’Arc guerrière. Paris,
Nouvelle Librairie nationale, 1907.
Andrew Lang. La Pucelle de France. Paris, Nelson.
Abbé Chassagnon. Les Voix de Jeanne d’Arc. Lyon, 1896.
Albert Sarrazin. Le bourreau de Jeanne d’Arc. Rouen, 1910.
Boucher de Molandon. Mémoires de la Société archéologique et
historique de l’Orléanais. Orléans, Herluison, 1876.

3981. — Tours, imp. E. Arrault et Cie.

*** END OF THE PROJECT GUTENBERG EBOOK JEANNE D'ARC
ET L'ALLEMAGNE ***

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.