  “What’s been the matter with me?” “Nothing very serious, Lord Somerville,” cheerily replied Sir Edward Bartley. “You are all right now; but you must not excite yourself. Now, now, don’t look round in that way.” And the eminent surgeon laid his soft hand on his patient’s wrist. “This is strange, Sir Edward. Have the carpets and curtains come back?” and two tears trickled down Lionel’s emaciated cheeks. “Sh, sh! that’s all right.” Sir Edward turned to the valet, who stood close by. “Temple, you must put some more ice on your master’s head. That same idea is haunting him; and we shall have him delirious again if we don’t look out.” “No, Sir Edward,” murmured Gwendolen Towerbridge, seated at the foot of the bed. “Lord Somerville is all right, leave him to me, and you will find him perfectly well when you return this afternoon.” The eminent surgeon took Gwen’s hand in his own and looked intently into her face. “Ah! that is my secret, Sir Edward.” Gwen looked down blushingly. “But some day I may tell it you, if he allows me.” “Well, well,” and he gently patted her hand, “I leave the patient in your hands; if you can bring him round to a saner view of his surroundings, you will have done a great deal; for he is quite unhinged, and I am not sure that his brain is not affected.” “Oh dear, no! my dear Sir Edward, Lord Somerville is quite sane; who knows, perhaps even saner than you or I.” “Poor, dear lady, I am afraid the strain has been too much for you, and we shall have you laid up if you persist in not taking a rest.” And Sir Edward silently left the room, followed by Temple. “My precious Lion, you have at last come back to me!” exclaimed Gwen, as she threw herself on her knees and kissed Lionel’s hand. “Ah! I knew it was all true,” wearily said Lord “My poor darling, these clothes, these carpets never disappeared. It has been a long dream—a long and beautiful dream.” “All a dream—then Danford, the witty and faithful guide—?” “Yes, a dream, my precious Lionel.” “And all is as it was before that storm? But you, Gwen, you are not the same, you are the Una of my dream; I see it in your radiant expression. Tell me, dearest, how did it happen? Did I really shoot myself?” “Yes, dear—but to go back to that night. As you remember, the storm was of such a nature as to prevent our reaching Richmond Park, and we turned back to town as fast as ever we could to Hertford Street. At about two o’clock in the morning father was roused by his valet, who told him that Temple had come to say he had found you in the library, shot through the head.” “And you—?” Poor Gwen evaded the searching look of her lover by burying her face in the counterpane. “My father never told me what had happened until next day.” She looked up at Lionel. “Do “Poor Gwen, it was a horrid ordeal, for you always hated sickness and loathed nursing.” “Yes, and I was so mad at the surgeon suggesting that I should watch you, that I lashed your dog with my whip as he came running into the room. He set up a most awful howl which you never heard, fortunately. I sat down, and you began to wander. At first it seemed but the ravings of a madman and I did not pay much attention; but by the evening, I was amused at your suggestions, and told the upper housemaid to go and fetch my maid with my things. I had made up my mind to stay.” “To nurse me, Gwen? Ah! how good of you,” interrupted Lionel. “No, Lionel, I don’t want you to have a wrong impression of me, it was not at all to nurse you, it was in the hopes that you would renew that fascinating dream. You were most entertaining “I daresay it was as amusing as the play you would have gone to that night,” laughingly remarked Lionel. “Oh! my dear Lionel, I was so very tired of my social entertainments; and the whole show had lost a good deal of its glamour, for it was my third season.” “So you thought my dream was more diverting, and therefore decided to remain in the seat for which you had not paid.” “Yes, that’s it; I must confess the truth, for we must never deceive each other again.” “Poor little Gwen, how you must have hated me, for I am ashamed to say, some of my remarks were anything but flattering.” “No, Lionel; but you taught me how to know you, and I learned how to know myself. I have sat night after night in this chair, listening to your dream, watching every phase of your regenerated London. I shared in all your reforms, and at times you even answered my questions. I could start your weird dream at any time, and at a suggestion of mine you would take up the thread of your narrative just where you had left it the night before.” “It must have been like a sensational feuilleton “Two months, dearest; but instead of wearing me out this hallucination kept me alive and put new blood into my veins. I can quite well see that Sir Edward believes I am on the verge of a mental collapse. Poor man, he does not see what we see and cannot feel as we do; he is still hopelessly ignorant.” “What a narrow escape I have had,” remarked Lionel. “It was miraculous, and the surgeons said they only knew of one other case in which a man who had been shot right through the head recovered consciousness after two months.” “I daresay everyone will say my brain is affected whenever I say or do anything out of the common.” “Never mind, Lionel, you and I have seen into each other’s heart, and that is sufficient to outweigh the loss of the world’s approbation. You see, we cannot look to a storm to wash away all our world’s shams; so we shall have to pass for eccentric or unorthodox, if we mean to live in a world of our own.” “But then, dear Gwen, you remember that “Yes, I daresay, but it will be a long time before that happens, and I have done my little work of reform personally, by dismissing my maid, and by sending all my wardrobe to poor gentlewomen. This old shabby dress is the only one I have worn for two months. Ah! Lionel, I am ashamed at appearing before you in such an indecent thing as a dress—but you know, we cannot reform the world too abruptly, and besides I was afraid Sir Edward might give me in charge!” and they both laughed heartily. It did him good to recall the old jokes, and his face brightened as he watched Gwen pirouetting round the room. There was a gentle knock at the door, and Temple came in with Gwendolen’s luncheon, which he placed on the table. He handed to her on a silver tray a bundle of letters and cards. “How funny to see letters again,” said Lionel. “Who are they from?” “A card from the Duke of Saltburn—Lord Petersham—” “Oh! I must ask the old fellow if he is accustomed to sitting next to his butcher on the Board of Public Kitchens! Who next, Gwen?” “There is your pet aversion, Joe Watson, with solicitous inquiries.” “Ha! ha! ha! Little Montagu Vane came to ask how you were!” “Beg pardon, Miss,” broke in the conscientious valet, “Mr Vane never came himself, he sent round a messenger boy.” “Oh! how good, just like him,” said Lionel; “he is a dilettante even in sympathy, and prefers to get his information indirectly.” “There are letters from Mrs Webster, from Mrs Archibald.” “What can they want?” interrupted the patient. “These letters are of no earthly use; the first wants my subscription for some charity fraud, the second needs my name for some social parade. Throw them in the waste-paper basket.” “Mrs Pottinger also sent her card,” went on Gwen, as she dropped the cards and letters one by one on the table. “Excuse me, Miss,” again said Temple, “I forgot to say that Mrs Pottinger came to inquire everyday; and yesterday she left a small parcel which I put on the hall table.” “Let us see what she says on her card,” and Gwen read the following words: “‘Mrs Pottinger “My first and only call will be on Mrs David Pottinger!” exclaimed Lionel, sitting up in his bed. “We shall see her yet presiding at the Palace of Happiness, and leading by the hand the American Seer.” “Is my lord worse, Miss?” gravely inquired the valet, as he leaned towards Gwen. “No, Temple, your master has never been in better spirits, nor has he ever been so clear in his mind. But it is—what can I call it?—a joke between us, and no one besides ourselves can understand it.” “My good Temple,” echoed Lionel, with a joyous ring in his voice, “it is a conundrum which we are trying to guess. We have already made out the first part of the riddle, but the second will be more difficult, for it will consist in making you see the joke, Temple.” “Oh! my lord, I always was a bad hand at guessing.” “Ev’n News! Probable date of th’ Coronation!” “What does that mean, Gwen? Is not the Coronation over by this time?” “My poor boy, of course you do not know the news! Many things have happened since that night when you shot yourself. The war is over—thank goodness that is a thing of the past! But the royal tragedy-comedy was never acted. You shall read for yourself.” And Gwen went to fetch a bundle of newspapers and illustrated journals that lay on a console. “’Ooligan murderer sentenced!” Again the hurried steps passed in the street. Lionel read on and on, thrilled at the perusal of dailies and weeklies. “The strangest of events brought the curtain down on our social pantomime. Quite as strange as the storm of London. If only it brought England to its senses I would not lament over the disappointment of the public.” “I doubt whether England will take the hint,” said Gwen. “This is all very strange, dearest Gwen, but still no stranger than my visions; and if it is true that ‘we are such stuff as dreams are made of,’ we can yet hope that our Society will save itself in time.” “Hullo! already reading, my dear Lord Somerville! You are a wonderful patient, and we shall see you in the Row before long.” Taking Lionel’s hand he felt his pulse. “That’s right, you are better, and you will soon resume your duties at Court. The King was inquiring after you the other day.” “Very kind of him, I am sure, Sir Edward. I am sorry to disappoint you, but as soon as I can I shall start on a long journey, and England will not see me for many years.” “My dear Lord Somerville,” and Sir Edward held his patient’s pulse firmly within his slender fingers, “we cannot spare you from London; besides which, this devoted young nurse cannot allow you to abandon her in this way.” “I shall accompany Lord Somerville wherever he goes,” proudly said Gwen. Sir Edward laid his patient’s hand gently on the bed and put back his watch into his waistcoat pocket. “I never doubted for one instant that you would, Miss Towerbridge, but Lord Somerville has his duties to his King and to Society; and it would be quite unnecessary to take a long voyage when I can vouch for his speedy recovery, and can “My dear Sir Edward, I am so sorry to disappoint you again, but the royal procession will not include my unworthy person, nor shall I witness the royal pageant. It may be bad taste on my part, but I resign all my duties at Court from to-day. As to social duties—they only existed in our imaginations, and the sooner we emancipate ourselves from such bondage the better. Besides, my dear Sir Edward, who knows whether there will be a Coronation?” “You are tired, dear friend”—the physician laid his hand on Lionel’s brow. “You have done far too much in one day, and need rest. But I will tell you just to put your mind at ease, that the date of the Coronation is fixed. I met the Lord Chamberlain an hour ago, and he informed me that we may look forward at an early date to our Sovereign’s public apotheosis.” “Always the same incorrigible snobbery.” Lionel heaved a long sigh and lay back on his pillow. “My poor Sir Edward, England has missed the opportunity it ever had of learning a lesson; and we are ambling back to Canterbury on a Chaucerian cob.” “Dear Miss Towerbridge”—Sir Edward came close to Gwen and spoke in a whisper—“I am “Do not worry about him, dear Sir Edward,” said Gwen, smiling her most bewitching smile. “Lord Somerville will never recover what you call his senses, and as soon as he can be taken away with safety we shall start for the Continent.” “Good gracious! you do not realise what condition he is in! And what about your father? What about Society? You are very self-sacrificing, but you are reckless. Pray let me advise you, my dear young lady.” “We shall start as soon as Lionel can be moved,” firmly answered Gwen. “Yes, dear Sir Edward,” added Lionel, looking wistfully at the surgeon; “but we shall keep you posted up as to our whereabouts.” “And we shall always sympathise with you in your tragic state of overclothing,” playfully said Gwen. “My last words to you, Miss Towerbridge,” sententiously spoke Sir Edward, as he stiffly bowed farewell, “are these: You will very soon regret your rash enterprise.” THE END COLSTON AND COY. LIMITED, PRINTERS, EDINBURGH CURTIS YORKE’S Latest Novels
THE PRESS ON CURTIS YORKE The Times.—“Curtis Yorke, in her many novels, has a happy gift for portraying the tender emotions.... There is always a charm about Curtis Yorke’s books—partly because she has the gift of natural, sympathetic dialogue.” Saturday Review.—“The novels of Curtis Yorke are too well known to need introduction. They have already their own public. They are bright, lively and vivacious.” Morning Post.—“Whether grave or gay, the author is a raconteur whose imagination and vivacity are unfailing. Few, moreover, have in the same degree the versatility which enables him to provoke peals of laughter and move almost to tears.... The writer is natural, realistic and entertaining.” Spectator.—“Curtis Yorke always writes bright and readable novels.” Literature.—“A powerful book, as are all Curtis Yorke’s novels.” Scotsman.—“The name of Curtis Yorke must always command respect in the minds of all novel-readers.” Sheffield Independent.—“A writer of uncommon power and promise.” Literary World.—“There are few novels that are at the same time so passionate and so perfectly harmless as those of Curtis Yorke.” The Bookman.—“Curtis Yorke’s reputation for talent and vigour as a storyteller is already established.” Manchester Courier.—“Curtis Yorke’s work has been marked from the first with singular insight into poor human nature, with tolerance towards the ugly and inevitable ills that spoil this beautiful world, and with literary ability of a high order.” Glasgow Herald.—“One naturally expects from this writer a wholly enjoyable story.” Star.—“Curtis Yorke writes with a sure touch. She never deviates from a path of pure naturalness.” MARY E. MANN’S GREAT NOVEL IN SUMMER SHADE By MARY E. MANN Author of “The Mating of a Dove,” “Olivia’s Summer,” etc. Crown 8vo, cloth gilt, 6s. OPINIONS OF THE PRESS Morning Post.—“For human interest and bright vivacity of dialogue ‘In Summer Shade’ is not likely to find many rivals among works of the same class.” Speaker.—“Mrs Mann has given us a thoroughly readable and decidedly clever story, marked by humour, satires and tenderness.” Daily Chronicle.—“The scene between husband and wife is one of the strongest and most restrained pieces of dramatic work we have seen for quite a long while.” Standard.—“A strong dramatic interest and a really excellent love story.” Daily Graphic.—“Not only a very charming tale in itself, but it is excellently told.” Bookman.—“In very few recent novels will there be found anything approaching its grasp of character and firmness of touch. Her characters are not made of ink and paper, but of flesh and blood.” Graphic.—“A very charming story indeed.... The large-natured Mary will live in the memory as the most delightful of heroines.... A thoroughly lifelike novel which can be enjoyed with the mind as well as with the sympathies.” Spectator.—“Mrs Mann certainly gives us an effective tale. Mary’s self-devotion on her sister’s behalf makes a powerful incident and leads up to a dÉnouement of much dramatic power.” READY SHORTLY GUY BOOTHBY’S ENTHRALLING NEW ROMANCE IN SPITE OF THE CZAR By GUY BOOTHBY
With Eight Full-page Half-tone Illustrations on Art Paper by Leonard Linsdell The name of Guy Boothby is one to conjure with. In this fine tissue of romance and realism, we have a wide range both in scenery and in incident. The invention of “Velvet Coat” as a distinctive sobriquet is an original idea, and whether in an English country mansion, on the St Petersburg pavements, or at Irkutsk, or in any other of the scenes so well painted, we are carried on from page to page with breathless expectation. All sorts and conditions of men, and of women too, cross the stage of this fresh drama, and it is full of exactly what delights the jaded reader—after turning from third-rate romance—namely the Unexpected. MAY CROMMELIN’S POPULAR NOVELS Crown 8vo, cloth gilt, price 6s. each PHŒBE OF THE WHITE FARM [Shortly ONE PRETTY MAID AND OTHERS CRIMSON LILIES BETTINA KINSAH THE LUCK OF A LOWLAND LADDIE A WOMAN DERELICT PARTNERS THREE A DAUGHTER OF ENGLAND World.—“Miss May Crommelin has a keen eye for the picturesque, and her books glow with local colour. She is known as an agreeable novelist, and has a breezy style which carries the reader pleasantly along.” Spectator.—“Miss May Crommelin brings to her task the pen of a trained writer. She has a wonderful eye for colour, and excels in seizing the dominant notes of street scenes or mountain landscapes.” Graphic.—“Miss May Crommelin is not one to do otherwise than well.” Bookman.—“Miss May Crommelin at her best is very good indeed. At her worst she is at least up to the average.” Daily News.—“Miss May Crommelin gives us a great deal for our money. She has a great gift of language, as well as an unfailing capacity for invention.” Speaker.—“Miss May Crommelin tells a story well. Her work has especially a dramatic distinctness which makes us feel that her characters are not merely manipulated on paper, but are realised in the imagination.” Literary World.—“Miss May Crommelin can at all events never be accused of heaviness or dulness.... A writer who does not spare pains either in regard to characterisation or composition.” Queen.—“Miss May Crommelin has the double qualification of being a good travel-writer and a clever novelist.” JUST PUBLISHED. GUY BOOTHBY’S NEW ROMANCE A Bride from the Sea By GUY BOOTHBY Author of “Dr Nikola,” “A Cabinet Secret,” “The Lady of the Island,” etc. Crown 8vo, bevelled boards, price 5s. With Eight full-page half-tone Illustrations on Art Paper by A. Talbot Smith This romance is, in the opinion of those who have been privileged to read it in M.S., Mr Guy Boothby’s best and most sensational tale, and is probably the longest story the author has written. The hero is Gilbert Penniston, a Devon worthy; time, a year after the Armada, and the motif his ardent love for a very beautiful Spanish girl, saved from shipwreck. Jealousy, plottings, duels and many totally unexpected sensations, carry the reader on enthralled and breathless to the last page. The local colouring is excellent, and the value of the romance is enhanced by Mr A. Talbot Smith’s splendid and realistic illustrations. Mrs LOVETT CAMERON’S POPULAR NOVELS Crown 8vo, cloth gilt, 6s. each BITTER FRUIT REMEMBRANCE AN ILL WIND A FAIR FRAUD A PASSING FANCY ROSAMOND GRANT [Shortly MIDSUMMER MADNESS THE CRAZE OF CHRISTINA A DIFFICULT MATTER A WOMAN’S “NO” Morning Post.—“Mrs Lovett Cameron is one of the best story-tellers of the day, and her pages are so full of life and movement that not one of them is willingly skipped.” Daily News.—“Mrs Lovett Cameron’s stories are always bright, vivacious and entertaining. They are very pleasantly human, and have, withal, a charming freshness and vigour.” Daily Telegraph.—“Mrs Lovett Cameron is a fertile and fluent storyteller, and an uncommonly clever woman.” Guardian.—“Mrs Lovett Cameron’s novels are among the most readable of the day. She has a wonderful eye for a situation, so her stories move with a swing that is all their own.” Pall Mall Gazette.—“Mrs Lovett Cameron, in her novels, is always readable and always fresh.” Speaker.—“Mrs Lovett Cameron possesses the invaluable gift of never allowing her readers to become bored.” Academy.—“Mrs Lovett Cameron exhibits power, writes with vivacity, and elaborates her plots skilfully.” Bookman.—“Mrs Lovett Cameron has gained for herself a circle of admirers, who take up any new book of hers with a certain eagerness and confidence.” Vanity Fair.—“Mrs Lovett Cameron needs no introduction to the novel reader, and, indeed, has her public ready to her hand as soon as her books come out.” Black and White.—“We have a few writers whose books arouse in us certain expectations which are always fulfilled. Such a writer is Mrs Lovett Cameron.” London: JOHN LONG, 13 & 14 Norris St., Haymarket And at all the Libraries and Booksellers MR. JOHN LONG’S Autumn and New Year Announcements 1904–1905 JOHN LONG’S POPULAR NOVELS Mr. John Long has much pleasure in announcing the publication of the following important New Novels, several of which are now ready. Six Shillings each
? Descriptive paragraphs of these Novels will be found inside 1. Originally announced as ‘Both of this Parish,’ a title claimed by another author. Mr. John Long’s New & forthcoming Books THE MASK. By William Le Queux This extraordinary tale plunges the reader at the first word into a mystery so deep, a story so vital, that one reads page after page in the spirit that holds the reader of, for example, ‘Treasure Island,’ though the story is not a story of some distant and undiscovered shore. True, there are a treasure and a treasure-hunter. True, there are wreckers, traitors, villains. True, there are youth, innocence, beauty. But all these belong, not to the high seas, but to the restless tide of human life and love which seethes and boils on this dry land of England now. There is something in the author’s work which allies him with Dumas, with Victor Hugo, with the weaver of the legends of the ‘Arabian Nights.’ He holds you; he fascinates you. He brings the breath of old-time romance down to the HERE and the NOW. THE STORM OF LONDON. By F. Dickberry ‘Have you read “The Storm of London”?’ is the question which will be on the lips of everyone. No novel published within recent times is comparable with it for audacity. It is described as a social rhapsody, and the author certainly portrays with no flattering pen the worse side of high-class society. But it is something more. It is a work of imagination, daringly original, and set boldly in a frame of modern realism. Yet there is no sadness in the book—only laughter. The author possesses rare courage and discretion, and his story can give no offence to any reader with the saving gift of humour. Again we ask, ‘Have you read “The Storm of London”?’ BLIND POLICY. By George Manville Fenn Daring in conception, masterly in execution, and strong in real human interest is Mr. George Manville Fenn’s new story, which deals with the amazing doings of fashionable London life. That such things can be seems almost past belief, and yet, given the actual circumstances, and the consequences are perfectly natural. The feminine interest is particularly strong in this particularly strong story. THE AMBASSADOR’S GLOVE. By Robert Machray Mr. Robert Machray’s plots are conceived with an ingenuity that baffles the most practised reader. ‘The Ambassador’s Glove’ is a story of a formidable domestic conspiracy in which the Foreign Office, the Secret Service, and a peculiar society called The Brotherhood, are involved in a battle royal. The weapons employed are abduction, assassination, and blackmail. It is a story that cannot fail to go into many editions. LADY SYLVIA. By Lucas Cleeve The chief characteristics of ‘Lady Sylvia’ are passion and intelligence. It is a story of the eternal conflict between love and duty, and is rendered the more powerful because it is written with the consummate mastery which is now associated with the name of Lucas Cleeve. THE WATERS OF OBLIVION. By Adeline Sergeant Miss Adeline Sergeant is a writer who has endeared herself to countless thousands of novel-readers. Her books are always human, and she believes in happy endings, but the way is set with temptations and storms and difficulties before the haven is finally reached. In her new story, ‘The Waters of Oblivion,’ Miss Sergeant displays all her old qualities, and it must create for her a host of new friends. AN INDEPENDENT MAIDEN. By Adeline Sergeant In Miss Sergeant’s new story will be found all those essentials which have made her name a household word in the realms of fiction, and readers of the present work will be delighted to make the acquaintance of so charming and sympathetic a heroine as Dulcie. THE BOOK OF ANGELUS DRAYTON. By Mrs. Fred Reynolds ‘The Book of Angelus Drayton’ is not a novel set to the ordinary tune. There is a plot, indeed, and one that no one can read without sympathetic interest; there is comedy and tragedy in it. But the chief note of the book is its charm—its charm of subject, its charm of treatment, and its charm of style. It is a story of the country, and to all who love the sights and sounds of the country it will appeal with irresistible strength. It leads the reader through the changing seasons of the year, and of them all it has something significant to say in the manner of a poet. It is not only a book to be read: it is a book to be bought and read and re-read. RONALD LINDSAY. By May Wynne, Author of ‘For Faith and Navarre’ This is an historical romance of the period of the Scotch Covenanters, and the background is filled with the fascinating though sinister figure of Graham of Olaverhouse. The book will delight all who have a feeling for the picturesqueness of bygone days. LINKS OF LOVE. By Dacre Hindle Two adventurous young men on pleasure bent succeed in convoying two charming girls, with their unsuspecting chaperon, to the hotel where the heroes of this fascinating romance of the Riviera are to stay. Realism is happily blended with a delightful romance which promises to be one of the most amusing of the season. MERELY A NEGRESS. By Stuart Young Mr. Stuart Young’s ‘Merely a Negress’ is new and original insomuch that it deals with the problem of the marriage of an Englishman and a Negress. The author treats his subject tactfully, and dwells upon the incompatibility, as well as upon the emotional sympathy of the senses. There is candour in the book, and yet restraint. As a new experiment in fiction, Mr. Stuart Young’s book deserves to be received with careful attention. THE TEMPTATION OF ANTHONY. By Alice M. Diehl The name of Alice M. Diehl is a guarantee for vividly-coloured and present-day society presentments, veined with romance and exciting incident. ‘The Temptation of Anthony’ will certainly take high rank among the lively and delightful novels by this well-known writer. Her portrait of Eve (Lady Waring) is a masterpiece in true and delicate female delineation. The story of Eve’s trial and sufferings should appeal to every reader. LITTLE WIFE HESTER. By L. T. Meade L. T. Meade’s new story, ‘Little Wife Hester,’ is concerned with the practices of Dr. Greenhill, a fashionable London physician, who effects marvellous cures by means of hypnotism. Her method is too well known to require description or eulogy. The story is written with great fluency, and ‘Little Wife Hester’ will add another to Mrs. Meade’s many laurels. THE NIGHT OF RECKONING. By Frank Barrett ‘The Night of Reckoning’ is a story of Doris, a young girl who, being left alone in the world, becomes the sport of relatives, who to rob her of her heritage do not shrink from the committal of the blackest crimes. But Doris has good as well as bad fairies to watch over her. All who like a rousing novel full of sensation and presented with an air of authenticity will greatly enjoy Mr. Frank Barrett’s new book. It places him at the head of the few writers of good dramatic fiction. ROSAMOND GRANT. By Mrs. Lovett Cameron ‘Rosamond Grant’ Is the story of a woman’s life—of her illusions, emotions, hopes, regrets and mistakes. It is a theme admirably suited to Mrs. Lovett Cameron’s method. Her characters are human to a degree, and the charm lies in their refreshing originality and their bright and entertaining vivacity. The story will make many new friends for this delightful and sympathetic writer. THE SECRET PASSAGE. By Fergus Hume Since Mr. Fergus Hume became famous as the writer of the ‘Mystery of a Hansom Cab,’ he has steadily progressed in public favour, and is now regarded as a veritable master of strategy in fiction. The reader who takes up one of his books may depend upon finding an enthralling story and a plot of baffling ingenuity. In his new work Mr. Fergus Hume’s unusual gifts are displayed in their maturity. ‘The Secret Passage’ is, perhaps, the author’s best book. CONFESSIONS OF A YOUNG LADY. By Richard Marsh, Author of ‘The Beetle,’ etc. Mr. Richard Marsh belongs to the younger generation of writers of fiction, and he can hold his own with the most brilliant of them. His qualities are originality of invention, a command over the weird and mysterious, a clear, straightforward narrative, and a bizarre humour, all the more telling because it flashes at unexpected moments across the page. In his new book, ‘The Confessions of a Young Lady,’ Mr. Richard Marsh’s remarkable powers are strikingly en evidence. It shows him at his best in the plenitude of his varied moods. The book will add much to the author’s popularity. THE FATE OF FELIX. By Mrs. Coulson Kernahan The general reader loves a mystery. Mrs. Coulson Kernahan is evidently well aware of the fact, and caters for her public accordingly. In ‘Devastation’ she took the reader into her confidence in the beginning; in ‘The Fate of Felix’ she keeps her secret to the end. This book has a most amazing plot, and has a love-story running through it of a very unusual description. LOVE AND TWENTY. By John Strange Winter The qualities that created for John Strange Winter her immense popularity are pre-eminently conspicuous in ‘Love and Twenty.’ The book shows that the author can wield the pen with all her old mastery. There is the same richness of invention, the same simplicity of manner, the same warmth of colouring, and the same tender pathos. No woman writer indeed can contest John Strange Winter’s supremacy in her own dominion. HIS REVERENCE THE RECTOR. By Sarah Tytler Miss Sarah Tytler’s new book deals with the personalities of an old-world type of county family, and incidentally discusses some semi-political questions and the problems of village life. Yet there is no lack of story, which is carefully constructed, written with the author’s accustomed polish, and may be recommended as among the best of the works of fiction penned by this thoughtful writer. LORD EVERSLEIGH’S SINS. By Violet Tweedale The love affairs of a modern peer best describes Violet Tweedale’s new book. It is a wonderfully strong story, is written with great cogence, and displays a grasp of character and a power of expression immensely in advance of anything the author has previously effected. In this novel the author has ‘found’ herself. THE INFORMER. By Fred Whishaw Mr. Fred Whishaw here presents a convincing picture of an honest Russian official who, opposed to the apostles of violence and bloodshed in his unhappy country, finds himself in a position which grows hateful to him. So realistic are many of the incidents in this Romance of the Discontented, that the reader will probably come to the conclusion, perhaps a correct one, that Mr. Fred Whishaw has drawn upon actual facts rather than upon his unassisted imagination. THE FACE IN THE FLASHLIGHT. By Florence Warden Miss Florence Warden’s new novel comprises a powerful study of the evils of gambling. The villain of the piece—a portrait drawn with great subtlety and skill—murders a dissipated youth to whom he acts as tutor, and attempts the life of his wife In order to gratify his passion for gambling. The story would be noteworthy if only for the presentation of ‘Mattie,’ who witnesses the crime, and yet is powerless to prevent the marriage of her friend with the murderer. The book is original and forceful, and the lover of fiction who omits its perusal will ‘only have himself to blame.’ THE WAR OF THE SEXES. By F. E. Young, Author of ‘The Triumph of Jill,’ ‘A Dangerous Quest,’ etc. It is safe to predict for Miss Young’s new story a phenomenal success, for it contains those qualities of the unexpected which straightway stamp a book. The story portrays the condition or affairs some thousands of years hence, when the male species, with a solitary exception, has become extinct. The authoress keeps her imagination within bounds, and the chief note of the book is its great good-humour. A delightful vein of satire winds its way through its pages, and the general effect can only be the unrestrained amusement which is wrought by high-class comedy. COUNT REMINY. By Jean Middlemass The name of Miss Jean Middlemass is a household word in the region of novel-readers. Her stories are conceived with great fertility of resource, and executed with the dexterity of the practised pen. Her new novel, ‘Count Reminy,’ is, perhaps, the brightest of her many works of fiction. It relates the story of a girl engaged to a man who cares only for her fortune; how she meets and falls in love with another man, and how her fiancÉ is mysteriously murdered. In the result, after sundry complications, all is well, and the book is bound to please the many readers of this popular favourite. THE PROVINCIALS. By Lady Helen Forbes, Author of ‘His Eminence,’ ‘The Outcast Emperor,’ etc. Lady Helen Forbes gives us in her new book a story of society, though not of ‘smart’ society. ‘The Provincials’ are a wealthy county family whose wealth entitles them to be leaders of society, but they prefer the life of the country. The authoress is well at home among her characters, and her vivacity and sense of humour invest the plot with real interest. Some vivid pictures of hunting help the reader along. ‘The Provincials’ may be deemed a landmark in Lady Helen Forbes’ career as a novelist, and shows that her work will have to be reckoned with. A BOND OF SYMPATHY. By Colonel Andrew Haggard Lieut.-Col. Andrew Haggard may be said to possess one, at least, of the gifts of his distinguished brother, the author of ‘She’—the art of telling a story. In his new book he proves, also, that he has a happy knack of invention and a good eye for dramatic situations. There is an abundance of stirring adventure, and there is an atmosphere that will inevitably appeal to the sporting reader; indeed, the book is written by a true sportsman. It is full of high spirits, and will be greatly appreciated by those who like breezy, good-natured and healthy fiction. STRAINED ALLEGIANCE. By R. H. Forster, Author of ‘The Last Foray,’ ‘In Steel and Leather,’ etc. This is a story of the rebellion of 1715—of the struggle between the Jacobites and the Hanoverians, which culminated in the Battle of Preston. The hero is entrapped into an apparent support of the Jacobite cause, notwithstanding that his sympathies are with the Hanoverians, and his attempts to escape from his captors serve as the background for many exciting scenes and romantic incidents, and for a charming love idyll. OLIVE KINSELLA. By Curtis Yorke, Author of ‘Delphine,’ ‘The Girl in Grey’ The name of Curtis Yorke is one to conjure with among all lovers of good fiction, for she possesses the higher gifts of the novelist—imagination, distinction, humour. She can play upon the emotions, from grave to gay, from lively to severe, with the consummate touch of a master. Her new book must fulfil the anticipations of her best admirers, for ‘Olive Kinsella’ is a fine story, finely conceived, and finely told. BENBONUNA. By Robert Bruce In ‘Benbonuna’ we have a tale written in the easy, forceful, simple style that must appeal to lovers of adventure. The wild, strenuous, daring life of the Australian Bush is described with the fidelity of portraiture. Those who know nothing of this strange, silent land, where many of the laws of nature seem to be reversed, will find much to enlighten, as well as much to entertain them. The book is essentially for readers with strong minds and broad sympathies. FROM THE CLUTCH OF THE SEA. By J. E. Muddock A book by this well-known and favourite author is always sure of a public, and it may safely be predicted that ‘From the Clutch of the Sea’ will be eagerly sought after. The opening, which describes a wreck on the Devonshire coast, is written with such a graphic pen that the terrible and thrilling scene is brought vividly before the mind’s eye. The characters are pulsing human beings, and the story is indeed worthy the reputation of the veteran author. THE CAVERN OF LAMENTS. By Catherine E. Mallandaine. Illustrated ‘The Cavern of Laments,’ derives its title from a weird cavern in Sark, and the main incidents of the story revolve round that picturesque island and its old-world people. The scenery it traverses, and the people whose lives and loves it depicts, have this merit—that they are fresh and unhackneyed. Indeed, the note or the book is its strength and originality. The crux of the story is the marriage of Cecile and Breakspeare, brought about by a dishonourable act, and its sequel. The writing is powerful throughout, and the publisher believes that every reader will be grateful for the opportunity of perusing a novel possessing unusual qualities. LORD OF HIMSELF. By Mrs. Aylmer Gowing The moneyless heir to a peerage wins the Newdigate Prize at Oxford, and also, as he believes, a beautiful and dangerous woman who has saved his life. Betrayed by her, he fights his way, like a man, against all odds, a delightful young princess of ideal type being his good angel. A strong vein of humour carries the reader through an intricate plot, while vivid pictures of Oxford life lend colour to a stirring story. MADEMOISELLE NELLIE. By Lucas Cleeve There are few novelists whose works deserve more respectful consideration than those of Lucas Cleeve. She has written stories of a high order, but she has never surpassed in interest or in power her new book ‘Mademoiselle Nellie.’ It is a story of English and French life, and offers a careful study of the differing characteristics of the two peoples. The book abounds in felicitous phrases, in dramatic moments, and in deft touches of pathos. IN SPITE OF THE CZAR. By Guy Boothby, Author of ‘Dr. Nikola,’ etc. With 8 Illustrations. 5s. In this fine tissue of romance and realism we have a wide range both in scenery and in incident. The invention of ‘Velvet Coat’ as a distinctive sobriquet is an original idea, and whether in an English country mansion, on the St. Petersburg pavements, or at Irkutsk, or in any other of the scenes so well painted, we are carried on from page to page with breathless expectation. All sorts and conditions of men, and of women, too, cross the stage of this fresh drama, and it is full of exactly what delights the jaded reader—after turning from third-rate romance—namely, the unexpected. In these picturesque pages we have, in a manner, the processional march of the early Norman soldier settlers in the land of the Olive, and we have also the extraordinary career set forth in that heroic daughter of the Roman Church, Matilda, the great Countess of Tuscany, who devoted her whole life and vast fortune to sustaining against all comers the temporal rights of Holy Mother Church. Pope Gregory the Seventh, Godfrey, the Hunchback Duke, and Henry IV., the ambitious German Emperor, and many other famous characters, move across these vivid pages in their habits and as they really lived. No life of the Great Countess, Matilda of Tuscany, has yet appeared in this country.
JOHN LONG’S LIBRARY OF MODERN CLASSICS A series of great works of fiction by modern authors. Not pocket editions, but large, handsome, and fully-illustrated volumes for the bookshelf, printed in large type on the best paper. Biographical Introductions and Photogravure Portraits. Size, 8 in. by 5½ in.; thickness, 1¼ in. Prices: Cloth Gilt, 2s. net each; Leather, Gold Blocked and Silk Marker, 3s. net each. Volumes Now Ready.
In Preparation—TOM BROWN’S SCHOOLDAYS. Other Volumes to follow. ‘John Long’s Library of Modern Classics is astonishingly good value for the money. I know of no pleasanter or more tasteful reprints.’—Academy. ‘A real triumph of modern publishing.’—Pall Mall Gazette. ‘A marvel of cheapness.’—Spectator. ‘A marvellous bargain.’—Truth. ‘Wonderfully cheap.’—Globe. ‘A triumph of publishing.’—Bookman. ‘Remarkable in price and format.’—Daily Mail. ‘Admirable in print, paper, and binding.’—Saturday Review. THE HAYMARKET NOVELS Under this heading Mr. John Long will issue a series of Copyright Novels which, in their more expensive form, have achieved success. The volumes will be printed upon a superior antique wove paper, and will be bound in specially designed cover heavily gold blocked at back. The size of the volumes will be Crown 8vo., and the price 2s. 6d. each. A feature of the Series will be a uniform edition of the more popular works of Mrs. Lovett Cameron. The following are among the first in the Series:
JOHN LONG’S Famous Sixpenny Copyright Novels In Striking Picture Covers, 8¾ in. by 5¾ in.
JOHN LONG, 13 & 14, Norris Street, Haymarket, London BILLING AND SONS, LTD., PRINTERS, GUILDFORD TRANSCRIBER’S NOTES
*** END OF THE PROJECT GUTENBERG EBOOK THE STORM OF LONDON *** This file should be named 63939-h.htm or 63939-h.zip This and all associated files of various formats will be found in: /6/3/9/3/63939/ 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-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They 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-tm 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-tm License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm 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-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm 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-tm 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-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside 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-tm License must appear prominently whenever any copy of a Project Gutenberg-tm 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-tm 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-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 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-tm 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-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (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-tm 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-tm 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-tm electronic works provided that * You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm 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-tm 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-tm 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-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and The Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm 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-tm collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project Gutenberg-tm 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-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm 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-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm 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-tm's goals and ensuring that the Project Gutenberg-tm 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-tm 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 principal office is in Fairbanks, Alaska, with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and employees are scattered throughout numerous locations. Its 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 web site and official page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread 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-tm electronic works. Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm 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 Web site which has the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, 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. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
