The Project Gutenberg eBook of Nalakihu-Citadel 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 will have to check the laws of the country where you are located before using this eBook.

Title: Nalakihu-Citadel Trail

Wupatki National Monument, Arizona

Author: Anonymous
Release Date: July 17, 2021 [eBook #65857]
Language: English
Character set encoding: UTF-8
Produced by: Stephen Hutcheson and the Online Distributed Proofreading Team at https://www.pgdp.net
*** START OF THE PROJECT GUTENBERG EBOOK NALAKIHU-CITADEL TRAIL ***

15 CENTS IF YOU TAKE THIS BOOKLET HOME

# Nalakihu-Citadel Trail

WUPATKI NATIONAL MONUMENT
ARIZONA

11th Ed.—4-76—12M

i

Nalakihu as seen from the south.

## NATIONAL PARKS AND MONUMENTS

Wupatki National Monument is one of nearly 300 areas administered by the National Park Service, United States Department of the Interior. These include magnificent areas set aside for their scenic, scientific, and historical values, and they belong to you and are a part of your heritage as American citizens.

The National Park Service has the responsibility of preserving the Parks and Monuments in their natural, unspoiled condition and of making them available for your enjoyment in such a manner as to leave them unimpaired for the enjoyment and inspiration of future generations. In order to achieve this high purpose, such destructive activities as woodcutting, hunting, grazing, mining and even flower-picking are prohibited. We hope you will join us in protecting Wupatki National Monument by taking only pictures and inspiration, and leaving only footprints and goodwill.

HELP KEEP AMERICA BEAUTIFUL

1

# Nalakihu-Citadel Trail

This booklet will guide you through Nalakihu (nah-LAH-kee-hoo), the small excavated surface pueblo near the parking area, and the Citadel, the large fortified, unexcavated structure on top of the butte. The trail is short and will lead you around to the rear of the Citadel, passing a large limestone sink, and to the top of the butte, where you may obtain a magnificent view of the surrounding country and see many other ruins from this vantage point. Numbered stakes on the trail correspond to numbered paragraphs in this leaflet, which will assist you in your understanding of this area and its early people.

We ask that you please keep off the ruin walls, and do not remove any pottery fragments, rocks, plants or other material from the area. Thank you.

### 1

This unexcavated, rectangular pithouse structure was of a type used by some of the inhabitants of the area prior to A.D. 1125.

Surface masonry architecture was not adopted by this tribe (archeologists call them the Sinagua—see-NAH-wah) until the early 1100s at which time their neighbors to the north, a tribe which scientists named the Anasazi (the Old People), introduced above-ground masonry structures to this region.

Reconstruction of two types of pithouses found in this region. Note the two methods of roofing and the ventilator at right.

2

Ground plan of Nalakihu.

### 2

Nalakihu is a Hopi word meaning “Lone House” or “House Standing Alone.” This pueblo had 10 rooms on the ground floor, 3 or 4 more rooms which formed a second story, providing a home for about 25 to 30 people.

A charred roof beam of ponderosa pine, lying on the floor of the first room, gave a tree-ring date of A.D. 1183, indicating that this little pueblo was built in the late 1100s. Dates of 1192 and 1260 have been obtained on wood from the Citadel above which would cause us to believe that both pueblos were built at approximately the same time.

By observing how the walls of various rooms butt against each other we can deduce that the rooms at the secondary doorway constitute the oldest part of the pueblo, because these walls were erected at one time and the other walls butt against them. When these three rooms constituted the whole pueblo, it was probably a one-family house.

3

Three possible constructional stages through which Nalakihu may have passed. (Hatchways are omitted and drains are merely guesswork.)

4

Metate (or mealing grindstone) resting on collapsed roof material in Room 1. There is a mano, or handstone, in it.

The three rooms in front of Nalakihu had no firepits and apparently were used for storage. The same applies to rooms 5 and 7. The remaining rooms had firepits and other features indicating they were dwelling rooms, such as ventilators to bring in fresh air at floor level, deflectors to keep draft of incoming air off firepits, and in room 4, loom holes to anchor the lower horizontal bar of a vertical loom.

Arrangement of metates (grinding stones) found on floor of Room 1.

5

### 3

(Please enter inner room.) Roofs in Nalakihu had a main beam spanning the room’s shorter axis, with the rafter poles crossing it. Over these, narrow wooden shakes and sometimes stone slabs supported another layer of reeds, branches, bark, or grass, and 3 or 4 inches (7.5 or 10 cm) of clay. Two collapsed roofs were found in each of four rooms so we know a second story once existed over the central portion of the pueblo.

Note the T-shaped doorway through which you passed and also the occasional lines of black volcanic rock in the walls which probably were not for decoration because some courses in the building were covered with plaster.

Cross-sections of various pits near Nalakihu.

### 4

You are now standing on the upper of two terraces. Exactly what they were used for we are not sure, but they may have been “kitchen gardens” similar to those in use today in some of the Hopi villages.

Below the terraces to the right of Nalakihu, archeologists discovered an unusual group of 6 burials and 16 storage, roasting or burial pits. Most of the pits were jar-shaped, some had vertical sides, and there were two pit ovens with flues, sort of teapot-shaped, with the spout actually being the flue. Three of the six burials were those 6 of infants in shallow pits, some lined with stone slabs. Only a bowl or a few sherds (pieces of broken pottery) were placed with them for grave offerings. These pits have been backfilled and are not visible today.

Archeologists work carefully to uncover a portion of collapsed roof.

Pits 9 and 10 in which a few sherds, and bones of common raven, bighorn, and mule deer were found.

7

Rocks standing on edge in Citadel Ruin are the remains of walls that collapsed intact.

The Sinagua buried their dead with the body extended full length while the Anasazi buried them in a flexed position with the knees drawn up toward the chest.

The people who used these pits may have attached religious significance to owls, for only owl bones were found here. Winona Ruins south of here along U. S. Highway 66 produced only hawk bones.

Please stay on the trail.

### 5

You are standing in a circular ring of volcanic rock outlining a room. On the slopes of Citadel Butte are several similar round or rectangular outlines, none of which have been excavated. There is another just above you, and several below.

### 6

The structure above is a fortified pueblo built on a small remnant butte of volcanic origin. Note the loop holes. Through the higher of these openings defensive warriors could shoot with bow and arrow. The lower ones at floor level were air vents.

The black rock around you is basalt, formed by the cooling of molten lava. Its color is due to the presence of iron minerals.

### 7

The valley below was the farming area used by the early inhabitants of not only the Citadel and Nalakihu, but of many other 8 villages, the ruins of which you may observe on the surrounding mesas. How many can you count? There are at least eight visible.

The Citadel, as seen from the west.

### 8

Note the way the walls of the Citadel follow the outline of the volcanic cliff upon which the structure is built. Again the loop holes are quite evident. The structure was probably two stories high on this side, which exhibits the best example of the masonry at this site.

Citadel Sink with the San Francisco Peaks in the background, as seen from Citadel Ruin.

9

### 9

This limestone sink in the foreground was formed when the roof of a cavern in the Kaibab Limestone collapsed, probably plugging the outlet and allowing a pond to form. There is another sink 2 miles (3.2 km) to the south, and ruins are clustered around its edge also. The thick Kaibab Limestone forms the greatest portion of the walls of the sinkhole. It is stained by seepage from the overlying red Moenkopi Sandstone, a thin layer of which can be seen at the base of the black lava which forms the surface.

### 10

You are now entering the Citadel by an entrance utilized by the Indians of yesteryear. Note the loop hole guarding this entrance.

Ground plan of the visible walls of the unexcavated Citadel.

### 11

This ruin has never been excavated. It might tell a story of peaceful farming people finding it necessary to defend themselves from neighboring tribes. Around the depression in the middle there is space for an estimated 30 rooms; the outlines of some can readily 10 be seen. Approximately 50-60 persons probably lived in this village.

Pottery from cremation burials, a mug, pitcher, and a ladle.

Most of the broken pottery found on the Citadel’s slopes is of the type made by the Anasazi, a prehistoric tribe which once lived to the north of here. Nalakihu’s pottery, however, was only one-third Anasazi, the other two-thirds being of the Sinagua and Prescott tribes. The latter lived to the south and west. Different people who were drawn to this region by the good farmlands created by the cinder cover that fell with the eruption of Sunset Crater in A.D. 1065, lived together as neighbors in this region, thus accounting for the different types of pottery in the ruins.

Black-on-white pitcher and bowl funeral offerings.

11

Clay pot lid, showing imprints of beans and corn husks.

### 12

Almost all of the dwellings were occupied for only a short period. When the winds finally duned up the black cinders and blew them off into the arroyos and the springs dried up, the people had to move to a more productive location to grow their crops. We believe that the Anasazi moved north into the Tsegi Canyon country while the Sinagua moved south into the Verde Valley and east to Chavez Pass near Winslow by the middle 1200s.

Every litter bit hurts!

### 13

You can see why the early people utilized this vantage point for the construction of a fortified pueblo. Today, we can thank them for a magnificent view of the surrounding country. In the distance can be seen the San Francisco Peaks, O’Leary Peak, Sunset Crater, Painted Desert, Gray Mountain, and numerous volcanic cones, remnants of the San Francisco volcanic field, over 2 million years old.

The structures you see from this point represent only a few of the more than 800 sites found within Wupatki National Monument. The largest ruin in this area is Wupatki ruin, 9 miles (14.5 km) to the southeast. Wupatki, which has been excavated, housed about 250 persons during its period of occupation. A visit to Wupatki is well worth your while.

### 14

We hope you have enjoyed this trail. Please Return This Booklet to the Register Stand Before You Go, or You Can Purchase It by Dropping 15 Cents in the Coin Slot.

12

## GENERAL INFORMATION

Sunset Crater is the most recent volcano among the 400 in the Flagstaff region, and is located 18 miles (29 km) south of here. It is one of the few prehistoric volcanoes in the world that we can accurately date (another being Mt. Mazama, where now is Crater Lake, Oregon), and one of the few that had such a pronounced effect upon people living in the area. When it erupted it covered almost 800 square miles (2080 sq km) including the Wupatki area, with fine black volcanic ash. This eruption took place before the masonry pueblos in this region were built.

When the eruption was over, a few individuals probably returned to this area and found, to their surprise and pleasure, they were able to mature crops in locations where they hadn’t been able to farm before. The thin layer of volcanic ash acted as a moisture-retaining mulch; the people could plant their seeds in the underlying soil and the cinder cover would hold enough moisture to insure them a good harvest.

When this word spread around, it created a great land rush, the only one we know of in the Southwest. Large numbers of Indians from all over this part of the Southwest swarmed into the region of the cinder fall to take advantage of the new farming land. The Hohokam came from the south, the Mogollon from the southeast and the Anasazi from the north.

The main concentration took place between A.D. 1100 and 1200, and during that time the area between the San Francisco Mountains and the Little Colorado River was inhabited by perhaps 8,000 Indians.

The abandonment of the area is as interesting as the occupation. Tree-ring evidence indicates that from about A.D. 1215 to 1300 there was a long drought of varying intensity which culminated in the great drought of 1276-1299. Winds accompanying the drought turned the area into a dust bowl, moving away the moisture-retaining cover of cinders that the people had depended upon for their farming. The people left as farming acreage decreased.

The Anasazi element apparently moved north or east into the Tsegi Canyon or Hopi country, while the Sinagua moved south into the Verde Valley and east to the Chavez Pass region near Winslow. By the mid-1200s Wupatki probably was completely abandoned.

The National Park Service invites you to come again!

13

## CONSERVATION—YOU CAN HELP

If you are interested in the work of the National Park Service, and in the cause of conservation in general, you can give active expression of this interest, and lend support by alining yourself with one of the numerous conservation organizations which act as spokesmen for those who wish our scenic and historic heritage to be kept unimpaired for the enjoyment of future generations.

Names and addresses of conservation organizations may be obtained from the ranger.

## ADDITIONAL POINTS OF INTEREST

This region is one of the most interesting archeological and scenic localities in the United States. Sunset Crater National Monument is 18 miles (29 km) to the south of Wupatki National Monument, and was the source of the black volcanic ash which had such profound effect on the prehistoric farmers. Twenty-one miles (34 km) farther to the south is Walnut Canyon National Monument, a beautiful canyon and rim setting for hundreds of ruined homes of prehistoric Indians who also were influenced by Sunset Crater’s ash. Farther to the south, in the Verde Valley (noted as Great Drought refuge areas) are Tuzigoot and Montezuma Castle National Monuments (the latter including Montezuma Well).

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.

We recommend the following items for additional information on the Southwest:

YOUR NATIONAL PARK SYSTEM IN THE SOUTHWEST, IN WORDS AND COLOR. Jackson. 500 word articles on each National Park Service area in the huge Southwest region, with full-color photograph for each of 66 areas listed. Most authoritative treatment possible, with every text checked for accuracy by each area’s superintendent. Revised and enlarged, 1976. Also contains “How to Get There” appendix. 76 pages, 69 full color illustrations, color cover, paper.

100 DESERT WILDFLOWERS IN NATURAL COLOR. Dodge. Descriptions and full-color portraits of 100 of the most interesting desert wildflowers. Photographic hints. 64 pp., full-color cover, paper.

100 ROADSIDE WILDFLOWERS OF SOUTHWEST UPLANDS IN NATURAL COLOR. Dodge. Companion book to author’s “100 Desert Wildflowers in Natural Color,” but for higher elevation flowers. 64 pages and full-color cover, paper.

FLOWERS OF THE SOUTHWEST DESERTS. Dodge and Janish. More than 140 of the most interesting and common desert plants beautifully drawn in 100 plates, with descriptive text. 112 pp., 4 page colored center-fold, color cover, paper.

FLOWERS OF THE SOUTHWEST MESAS. Patraw and Janish. Companion volume to the Desert flowers booklet, but covering the plants of the plateau country of the Southwest. 112 pp., color cover, paper.

FLOWERS OF THE SOUTHWEST MOUNTAINS. Arnberger and Janish. Descriptions and illustrations of plants and trees of the southern Rocky Mountains and other Southwestern ranges above 7,000 feet elevation. 112 pp., plus 4-color centerfold, color cover, paper.

MAMMALS OF THE SOUTHWEST DESERTS. Olin and Cannon. Handsome illustrations, full descriptions, and life habits of the 42 most interesting and common mammals of the Southwest desert country below 4,500 feet elevation. 116 pp., 60 illustrations, 4 page colored center-fold, color cover, paper.

MAMMALS OF SOUTHWEST MOUNTAINS AND MESAS. Olin and Bierly. Companion volume to “Mammals of Southwest Deserts.” Fully illustrated in exquisitely done line and scratchboard drawings, and written in Olin’s masterfully lucid style. Gives description, range, and life habits of the better known Southwestern mammals of the uplands. Color cover, paper or cloth.

POISONOUS DWELLERS OF THE DESERT. Dodge. Invaluable handbook for any person living in the desert. Tells the facts about dangerous insects, snakes, etc., giving treatment for bites and stings and dispels myths about harmless creatures mistakenly believed poisonous. Revised, 1974, 48 pp.

Write For Catalog

SOUTHWEST PARKS AND MONUMENTS ASSOCIATION

Box 1562—Globe, Arizona 85501
339 South Broad Street

## 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 NALAKIHU-CITADEL TRAIL ***
Updated editions will replace the previous one—the old editions will be renamed.
Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away--you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works
1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

> This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:
• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate
Section 5. General Information About Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.
Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.
Most people start at our website which has the main PG search facility: www.gutenberg.org.
This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.