Read and listen to the book Casa Grande Ruins Trail by Southwest Parks and Monuments Association.
The Project Gutenberg EBook of Casa Grande Ruins Trail, by Anonymous
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'll have to check the laws of the country where you are located before using this ebook.
Title: Casa Grande Ruins Trail
Author: Anonymous
Release Date: August 17, 2019 [EBook #60118]
Language: English
Character set encoding: UTF-8
*** START OF THIS PROJECT GUTENBERG EBOOK CASA GRANDE RUINS TRAIL ***
Produced by Stephen Hutcheson and the Online Distributed Proofreading Team at http://www.pgdp.net
Casa Grande Ruins Trail
15 cents if you take this booklet home
CASA GRANDE RUINS NATIONAL MONUMENT ARIZONA
[Illustration: Map of Compound A]
SAFETY
You are in a desert area. Sometimes the desert can be harsh. Cactus spines can hurt. Intense heat can cause varying degrees of discomfort. Poisonous animals, though rare, are here. Know your own limitations, and exercise caution.
NATIONAL PARK AND MONUMENTS
Casa Grande Ruins National Monument, one of more than 280 areas administered by the National Park Service, United States Department of the Interior, was set aside because of its outstanding archeological values. This area belongs to you and is part of your heritage as an American citizen. The men and women in the uniform of the National Park Service are here to assist you and will welcome the opportunity to make your visit to Casa Grande Ruins more enjoyable.
The National Park Service was created in 1916 to preserve the National Parks and Monuments for your enjoyment and that of future generations. Federal law prohibits activities which would destroy any of the works of nature or man that are preserved here. These include such activities as hunting, woodcutting, collecting—even taking of small pieces such as broken pottery. Please help preserve Casa Grande Ruins National Monument, and remember: A thoughtless act on your part can destroy in a few moments something that has been here for centuries. Please stay on the designated trail.
DON’T FORGET YOUR CAMERA
The Casa Grande Trail is about 400 yards long and an easy walk. Numbered stakes along the trail are set at points of interest, and corresponding numbered paragraphs in this booklet explain the features.
You may enter the Casa Grande (Big House) only on a ranger-conducted guided tour.
1.
From about 2,000 years ago until about A.D. 1450, people living in this area developed and expanded a stone-age civilization that the archeologists call the Hohokam (Ho-Ho-Kahm) culture. Hohokam means “those who have gone” in the language of the nearby Pima Indians, who are probably descendants of these prehistoric people.
The Hohokam lived in this region for many centuries before building walled villages like this between A.D. 1300 and 1450. Primarily farmers, raising corn, beans, squash, and cotton, they developed extensive irrigation canal systems that took water from the Gila (Hee-la) River. About A.D. 1450, this village and others like it were abandoned. We do not know why. When the Spaniards explored this area, they found Pimas, living in open villages and irrigating their farmlands, several miles to the west.
2. Village Wall.
The wall around this village originally stood 7 to 11 feet high. There were no doorways in it. This wall and building of this village are of caliche, a limy subsoil found 2 to 5 feet below the surface of this region. To get in or out of the village the Indians used ladders to climb over the wall. The foundations, all that remain of the wall, are covered with wire reinforced, tinted-cement stucco to protect them. Stepping or sitting on the walls may damage them. Help us to protect the walls.
3. Living Room.
This room is one of approximately 60 rooms inside the compound wall. Walls and floors were made of caliche, and ceilings were layers of poles, saguaro ribs, and reeds capped with a covering of caliche. Some rooms, like this one, had doorways; other rooms had hatchways in the roof centers. A small clay fire pit, about 1 foot in diameter, was in the center of each room. During hot weather, cooking was done out of doors. (See next page).
4. The Casa Grande—Northeast Corner.
The Casa Grande was first seen by a European on November 27, 1694, when Father Kino, a Jesuit missionary and explorer, visited the area. He called the building the Casa Grande, or Big House, because it was the biggest structure he had seen in southern Arizona.
The large steel canopy was erected in 1932 to protect the Casa Grande from rain. This building has not been restored, but to keep it from crumbling further, the ruin was stabilized in 1891. The undercut base of the ruin was filled with bricks and cement, two-by-fours were placed over the doorways, and two steel rods were inserted to brace the south wall.
[Illustration: Living Room]
[Illustration: The Casa Grande, Northeast Corner]
5. The North Side.
The wood over the doorway is not original. There is no original wood remaining in the Casa Grande. Father Kino reported it as burned out prior to his 1694 visit.
Though four stories high, only the upper three stories of the Casa Grande were used. The five ground-story rooms were filled with earth to form a platform foundation, and a ladder was used to gain access to the second story through the doorway seen here.
To the right of the doorway and about shoulder high are a line of holes in the wall. These show where a roof, probably for shade, was socketed into the wall.
6. West Side.
Notice the series of horizontal cracks along the west wall of the Casa Grande. The cracks show that the walls were built with layers of caliche mud. Each layer was about 26 inches thick. Bricks were not used. The Indians did not make adobe bricks until taught by the Spanish priests centuries later.
Above the enlarged open doorway is a blocked one. The upper doorway was sealed by the Indians, but they left a small opening for ventilation at the bottom of the block. The large hole above the blocked doorway is where the original wooden lintel poles rotted away, causing part of the wall to fall.
Both to left and right of the blocked doorway are small windows in the north and south rooms. The left window is round and the right window is square.
In the 1880’s, Ed Schieffelin, the founder of Tombstone, Arizona, took this photograph of the Casa Grande. The structure has deteriorated little since then.
7. South Side.
Here are two more blocked doorways that originally led into the west second and third-story rooms. Doorways made by these Indians are smaller than modern entryways, but this does not mean that the people were small. During bad weather these openings could have been closed off with mats and skins, and the smaller the doorway, the easier it was to block. Moreover, it let in less cold air.
[Illustration: West Side of the Casa Grande]
The round holes in a line between the doorways were beam sockets. Poles of pinyon pine and/or juniper formed the ceilings and spanned the width of the room.
[Illustration: Cross-section Drawing of a Roof.]
The interior plaster of the west wall was made from caliche, ground fine in a stone mortar and with the gravel sifted out. This plaster is more than 650 years old.
Names cut into the plaster date from the last half of the last century, and were cut into the plaster before the ruin was protected by the Federal government. Because of these names, and the fact that the interior of the Casa Grande may easily be vandalized, visitors are permitted to enter the ruin only on ranger-conducted guided tours.
8. Southeast Corner.
The walls of the Casa Grande are heavy and massive, ranging in thickness from 4½ to 1¾ feet. To save work and to reduce weight on the foundation, the Indians narrowed the walls as they built them up. The outside surface bows inward as the wall rises. The inside surface, however, is nearly vertical. (See photo).
[Illustration: Southeast Corner of the Casa Grande]
9. Buried Walls.
If you look closely at the surface of the ground you can see the tops of the walls of some rooms. These rooms are unexcavated. Probably the floor of this room is less than one foot below ground surface, and only the foundations of the walls remain.
10. Southwest Building.
The high walls shown at top of the next page are all that remain of a three-story building that stood in this southwest corner of the walled village. These rooms apparently were living rooms where several families slept, worked, and stored their food, tools, and clothing. One of the large red Hohokam jars in the Visitor Center exhibit room was recovered near here.
11. Outer Wall.
This is another part of the village wall. To save labor, the west side of the three-story building was built against the wall. During the winter of 1906-07, Dr. J. W. Fewkes conducted excavations in this ruin for the Smithsonian Institution. He found debris along the outside of the wall indicating that it once stood 7 to 11 feet high. (Bottom, left).
[Illustration: Southwest Building]
[Illustration: Outer Wall]
12.
From this vantage point you can view the whole compound. The walls enclosed an area of 2⅛ acres. Most of the dwellings in the village were one story high.
In 1951, Paul Coze, an Arizona artist, painted a restoration of the Ruin. This painting, on page 10, may help you visualize what the village looked like 650 years ago. The high standing walls to your left are remains of the tall building in the lower left-hand corner of the painting.
The prehistoric Indian canal used to irrigate farmlands in this area lay north of the Monument but curved to the south and passed near the farm shed visible one-half mile to the west. The high bank to the south and west is the line of the modern canal. The Indians cultivated the land to the west beyond the modern canal, walking from one-half to one mile to reach their fields.
13. Southeast Quarter.
The vacant area to your right once had houses on it, but they were of rather flimsy upright-pole-and-mud construction and little remains of them but floors and wall post holes. The open places in the village were used for children’s play, work areas, outdoor cooking, and other purposes.
14. The Casa Grande.
Again we come back to the Casa Grande. This is a unique structure in this region and its major purpose or function is not known. It does not have the appearance of a normal dwelling. Theories that the structure might have been a fort-like watchtower fail to explain what people the Casa Grande folk might have been watching. (There is no real evidence of warfare or strife.) Recent investigations have suggested that certain openings in the upper walls may have been utilized for astronomical observations, but whether the entire structure was built for this purpose is mere speculation.
Take nothing but pictures— Leave nothing but footprints
15. Font’s Room.
This building stood two stories high. Socket holes for the first-story ceiling can still be seen on the east side of the high wall. The room is called Font’s Room for Father Font, a Spanish Franciscan priest who visited here in 1775.
[Illustration: Paul Coze Painting. Restoration of the Casa Grande]
[Illustration: The Casa Grande]
[Illustration: Font’s Room]
16. The Trash Mound.
Look over the village wall and to the east, between the residences and the Visitor Center. About 150 feet away is the low mound that was one of the trash dumps for this village. This is where the Hohokam for over a century threw their broken pottery, tools, shell jewelry, garbage, and other refuse. From this mound came much of our information about the material remains of these ancient people. In order to protect archeological values, visitors are not allowed on the mound.
17. Shell Pendants.
The turquoise and shell mosaic emblems in the Visitor Center jewelry exhibit were found in 1926 in the west end of this room during excavations to stabilize the walls. They are exceptionally fine examples of prehistoric mosaic handicraft. (See photo on back cover).
18.
To return to the Visitor Center take the path to the right.
We hope you have enjoyed your trip along the Casa Grande trail. The National Park Service rangers are here to assist you in any way they can and will do their best to answer your questions.
LAND AND WATER CONSERVATION FUND ACT OF 1965
America’s growing need for outdoor recreation areas was recognized by Congress with the passage of the Land and Water Conservation Fund Act of 1965. This law authorizes entrance and users’ fees at Federal Recreation Areas and dedicates the money from those fees, plus revenue from the sale of surplus Federal real estate and the Federal tax on fuel used in pleasure boats, to the purchase and development of public recreation lands and waters.
Roughly 40 percent of your entrance fee goes to buy additional Federal Recreation Areas—a share in the California Redwoods, a bit of Fire Island, a view from Spruce Knob, a safe haven for the vanishing whooping crane, or the purchase of Hubbell Trading Post in northeastern Arizona. The other 60 percent goes to the states and through them to towns and counties to buy and develop “near to home” recreation areas such as Picacho State Park, Arizona. These grants are matched with an equal amount from state and local sources.
The $10 annual permit which is valid for some 7,000 Federal areas administered by the National Park Service, Forest Service, Bureau of Sport Fisheries and Wildlife, Bureau of Land Management, Bureau of Reclamation, Tennessee Valley Authority and Corps of Engineers may be purchased at Casa Grande Ruins National Monument. For additional information about the Land and Water Conservation Fund Act of 1965 ask a ranger.
This booklet is published in cooperation with the National Park Service by the Southwest Parks and Monuments Association
A non-profit publishing and distributing organization supporting historical, scientific and educational activities of the National Park Service.
5th Ed. 1-73-20M
[Illustration: Turquoise and shell mosaic emblems]
Transcriber’s Notes
—Silently corrected a few typos.
—Retained publication information from the printed edition: this eBook is public-domain in the country of publication.
—In the text versions only, text in italics is delimited by underscores.
End of the Project Gutenberg EBook of Casa Grande Ruins Trail, by Anonymous
*** END OF THIS PROJECT GUTENBERG EBOOK CASA GRANDE RUINS TRAIL ***
***** This file should be named 60118-0.txt or 60118-0.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/6/0/1/1/60118/
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'll 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 [email protected]
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.