Top 50 ACT Math Skills, Third Edition -

eBook PDF
Visit to download the full and correct content document:
https://ebooksecure.com/download/top-50-sat-math-skills-third-edition-ebook-pdf-2/
Praise for
Brian Leaf’s Top 50 Skills
Series

Top 50 Skills for a Top Score: SAT Math

“What a surprise, what a relief! An SAT guide that actually
meets you where you are, talks to you with wit and
compassion, and clears away the panic of test-taking. And, the
writing is first-rate too. Bravo Brian Leaf.”
—Rebecca Pepper Sinkler, former Editor, The New
York Times Book Review
“If everyone starts using Brian’s secrets and strategies, The
College Board and ETS are going to have to rewrite the
SAT!!”
—Max Shelton, George Washington University alum
“I enjoyed the informal writing style, and the flash cards for
math are brilliant! Students are used to stacks of vocabulary
words in preparation for the verbal portion of the test, why not
drills on flash cards for the math section?”
—Denise Brown-Allen, EdD, Upper School Director,
The Pingry School

Top 50 Skills for a Top Score: SAT Critical

Reading and Writing
“Brian Leaf has hacked off the head of America’s high school
boogie man—the dreaded SAT. He clearly lays out how the
test works, accessible preparation strategies, and how to
maximize one’s score. Any college applicant can benefit from
his thoughtful and well-researched advice.”
 —Joie Jager-Hyman, former Assistant Director of
Admissions, Dartmouth College, author of Fat
Envelope Frenzy: One Year, Five Promising Students
and the Pursuit of the Ivy League Prize
“A long time ago, in an era far, far away, I took the SAT—and
I can remember the pressure and anxiety of it like it was
yesterday. Lucky for you modern-day seniors, Brian Leaf has
written the SAT guide to end all SAT guides. He thoroughly
demystifies the test and lays out the 50 skills you need to max
out your score. Better yet, Mr. Leaf writes with such humor,
wit, and unpretentious expertise that you’ll find yourself
reading this book just for fun. I did. It almost—almost—even
made me want to take the SAT again.”
—Sora Song, Senior Editor, Time Magazine
“What’s more scary than facing SATs? Or more boring than
prepping for them? For a student swinging wildly between
angst and ennui, the solution is Brian Leaf’s Top 50 Skills for a
Top Score: SAT Critical Reading and Writing. Leaf, himself a
genius at connecting with teenagers, meets students at their
level, and spikes every drill with common sense and comedy. I
especially loved the Superbad Vocabulary section—not your
usual stuffy approach to language deficit disorder. Guaranteed
to relax and engage the most reluctant (or panicked) student.”
—Rebecca Pepper Sinkler, former Editor, The New
York Times Book Review

Top 50 Skills for a Top Score: ACT Math

“Anyone even thinking of taking the ACT needs this short but
targeted guide to the math section. You simply can’t afford not
to spend the time reading his laser sharp drills that break down
every type of problem on the ACT, show the math behind each
type, and then provide drill sections based on that skill set.
Even poor math students can learn to recognize all the types of
math on the ACT and learn the ropes enough to get most of the
easy and medium questions right every time. Mr. Leaf’s guide
is even entertaining as he gives the skill sets names like
“Green Circle, Black Diamond” to make it feel like you are
skiing rather than slogging through lessons. If you want a short
but concise guide to the ACT with every trick and
mathematical explanation necessary to get a perfect score, this
is the book for you. You may even actually LEARN real math
in the process as Mr. Leaf’s love of the subject shines through
so you don’t just feel you are learning for a test.”
—Dr. Michele Hernandez, author of the bestselling
books A is for Admission, The Middle School Years,
and Acing the College Application
“Brian Leaf knows how to talk with students and in his book,
Top 50 Skills for a Top Score: ACT Math, you can hear his
voice loud and clear. Students who follow Brian’s “Mantras”
and work through the practice questions will gain confidence
in their work, as well as improve their ACT scores.”
—Barbara Anastos, former Director, Monmouth
Academy
“Feels like you have an insider divulging secrets from behind
the walls of the ACT! At times going so far as to circumvent
the math skills themselves, Brian gives practical tips and tricks
specifically designed to outwit the ACT’s formula, and he
does it all with a sense of humor and fun. Nice job!”
—Danica McKellar, actress (The Wonder Years, West
Wing) and mathematician and author of New York
Times bestsellers Math Doesn’t Suck and Kiss My
Math

Top 50 Skills for a Top Score: ACT

English, Reading, and Science
“This book is a good read even if you don’t have to take the
ACT.”
—Edward Fiske, author of the bestselling college
guide, the Fiske Guide to Colleges
“The specific skills needed for the ACT, confidence building,
stress-management, how to avoid careless errors . . . this book
has it covered!”
—Laura Frey, Director of College Counseling,
Vermont Academy
former President, New England Association for
College Admission Counseling
Copyright © 2022, 2016, 2010 by Brian Leaf. All rights
reserved. Except as permitted under the United States
Copyright Act of 1976, no part of this publication may be
reproduced or distributed in any form or by any means, or
stored in a database or retrieval system, without the prior
written permission of the publisher.
ISBN: 978-1-26-427485-7
MHID: 1-26-427485-8
The material in this eBook also appears in the print version of
this title: ISBN: 978-1-26-427484-0, MHID: 1-26-427484-X.
eBook conversion by codeMantra
Version 1.0
All trademarks are trademarks of their respective owners.
Rather than put a trademark symbol after every occurrence of
a trademarked name, we use names in an editorial fashion
only, and to the benefit of the trademark owner, with no
intention of infringement of the trademark. Where such
designations appear in this book, they have been printed with
initial caps.
McGraw-Hill Education eBooks are available at special
quantity discounts to use as premiums and sales promotions or
for use in corporate training programs. To contact a
representative, please visit the Contact Us page at
www.mhprofessional.com.
TERMS OF USE
This is a copyrighted work and McGraw-Hill Education and
its licensors reserve all rights in and to the work. Use of this
work is subject to these terms. Except as permitted under the
Copyright Act of 1976 and the right to store and retrieve one
copy of the work, you may not decompile, disassemble,
reverse engineer, reproduce, modify, create derivative works
based upon, transmit, distribute, disseminate, sell, publish or
sublicense the work or any part of it without McGraw-Hill
Education’s prior consent. You may use the work for your own
noncommercial and personal use; any other use of the work is
strictly prohibited. Your right to use the work may be
terminated if you fail to comply with these terms.
THE WORK IS PROVIDED “AS IS.” McGRAW-HILL
EDUCATION AND ITS LICENSORS MAKE NO
GUARANTEES OR WARRANTIES AS TO THE
ACCURACY, ADEQUACY OR COMPLETENESS OF OR
RESULTS TO BE OBTAINED FROM USING THE WORK,
INCLUDING ANY INFORMATION THAT CAN BE
ACCESSED THROUGH THE WORK VIA HYPERLINK
OR OTHERWISE, AND EXPRESSLY DISCLAIM ANY
WARRANTY, EXPRESS OR IMPLIED, INCLUDING BUT
NOT LIMITED TO IMPLIED WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR A PARTICULAR
PURPOSE. McGraw-Hill Education and its licensors do not
warrant or guarantee that the functions contained in the work
will meet your requirements or that its operation will be
uninterrupted or error free. Neither McGraw-Hill Education
nor its licensors shall be liable to you or anyone else for any
inaccuracy, error or omission, regardless of cause, in the work
or for any damages resulting therefrom. McGraw-Hill
Education has no responsibility for the content of any
information accessed through the work. Under no
circumstances shall McGraw-Hill Education and/or its
licensors be liable for any indirect, incidental, special,
punitive, consequential or similar damages that result from the
use of or inability to use the work, even if any of them has
been advised of the possibility of such damages. This
limitation of liability shall apply to any claim or cause
whatsoever whether such claim or cause arises in contract, tort
or otherwise.
Contents
How to Use This Book
Easy, Medium, Hard, and Guessing
About Brian Leaf
Acknowledgments
Pretest
Answer Key

Top 50 Skills
SKILL 1 Use the Answers
SKILL 2 Super Easy Algebra
SKILL 3 Super Easy Algebra—Algebraic Manipulation
SKILL 4 “Mean” Means Average
SKILL 5 The Six-Minute Abs of Geometry: Angles
SKILL 6 The Six-Minute Abs of Geometry: Parallel Lines
SKILL 7 The Six-Minute Abs of Geometry: Triangles
SKILL 8 FOIL
SKILL 9 Math Vocab
SKILL 10 More Math Vocab
SKILL 11 Multiples Vocab
SKILL 12 Fancy Graphing Vocab
SKILL 13 Green Circle, Black Diamond: Slaloming Slope I
SKILL 14 Green Circle, Black Diamond: Slaloming Slope II
SKILL 15 The Sports Page: Using Charts and Graphs
SKILL 16 The Only Function Questions on the ACT
SKILL 17 Midpoint and Distance Formulas
SKILL 18 Make It Real
SKILL 19 Perimeter, Area, Volume
SKILL 20 Donuts
SKILL 21 Baking Granola Bars—Ratios, Proportions, and
Cross-Multiplying
SKILL 22 Intimidation and Easy Matrices
SKILL 23 Art Class
SKILL 24 The Mighty Pythagoras
SKILL 25 Special Right Triangles
SKILL 26 Ant-Man
Yoga and The Society For Free Living
SKILL 27 “Is” Means Equals—Translation
SKILL 28 Arithmetic Word No-Problems
SKILL 29 Just Do It!—Springboard
SKILL 30 Beyond Your Dear Aunt Sally: The Laws of
Exponents I
SKILL 31 Far Beyond Your Dear Aunt Sally: The Laws of
Exponents II
SKILL 32 y = mx + b
SKILL 33 Arrangements
SKILL 34 SohCahToa!
SKILL 35 Beyond SohCahToa
SKILL 36 May the Odds Be Ever in Your
Favor . . . Probability
SKILL 37 Anything Times Zero Is Zero
SKILL 38 y = ax2 + bx + c
SKILL 39 Circles
SKILL 40 Weird Circle Factoid
SKILL 41 Absolute Value
SKILL 42 Sequences
SKILL 43 It’s Gettin’ Hot in Herre . . . Fahrenheit/Celsius
Conversions
SKILL 44 Don’t Even Think About It! . . . Most Common
Careless Errors I
SKILL 45 Don’t Even Think About It! . . . Most Common
Careless Errors II
SKILL 46 Misbehaving Numbers: Weird Number Behavior
SKILL 47 Logs
SKILL 48 Not So Complex Numbers
SKILL 49 How to Think Like a Math Genius I
SKILL 50 How to Think Like a Math Genius II
Brian’s Friday Night Spiel
Bonus Skill: Hello Harvard . . . How to Break 30
Easy, Medium, Hard, and Guessing Revisited
Now What?
Posttest
Solutions
Glossary
Top 50 Skills Flash Cards
How to Use This Book
It’s simple. The questions that will appear on your ACT are
predictable. We know the recipe: a multiples question, an
average question, a midpoint or distance question . . . And
while each of these topics is broad and could be the subject of
a whole mathematics course, the ACT always tests the same
concepts!
In this book, I will teach you exactly what you need to know. I
will introduce each topic and follow it with drills. After each
set of drills, check your answers. Read and reread the solutions
until they make sense. They are designed to simulate one-
onone tutoring, like I’m sitting right there with you. Reread
the solutions until you could teach them to a friend. In fact, do
that! My students call it “learning to channel their inner Brian
Leaf.” There is no better way to learn and master a concept
than to teach it!
Any new concept that you master will be worth points toward
your ACT math score. That’s the plan; it is that simple. If you
did not understand functions, ratios, and averages before, and
you do now, you will earn 3+ extra points.
This book is filled with ACT Math Mantras. They tell you
what to do and when to do it. “When you see a proportion,
cross-multiply.” “When you see a linear pair, determine the
measures of the angles.” This is the stuff that girl who got a 36
does automatically. The Mantras teach you to think like her.
“Sounds good, but the ACT is tricky,” you say. It is, but we
know their tricks. Imagine a football team that has great plays,
but only a few of them. We could watch films and study those
plays. No matter how tricky they are, we could learn them,
expect them, and beat them. ACT prep works the same way.
You will learn the strategies, expect the ACT’s tricks, and raise
your score. Now, go learn and rack up the points!
Easy, Medium, Hard, and
Guessing
The ACT is not graded like a math test at school. If you got
only half the questions right on an algebra midterm, that’d be a
big fat F. But on the math ACT, half the questions right is a 21,
the average score for students across the country. If you got
67% of the questions right, that’d be a D+ in school, but a nice
25 on the ACT, and higher than 78% of the students who took
the test. And 87% correct, which is a B+ in school, is a
beautiful 31 on the ACT, higher than 96% of students who
took the test.
The math questions on the ACT are organized in order of
difficulty, from easiest to hardest. In this book the drills that
follow each skill are also arranged easiest to hardest. The easy
questions are worth just as much as the hard ones. So don’t
rush and risk a careless error just to reach the hard questions.
If an “easy” question seems difficult, take another look for
what you are missing. Ask yourself, Which skill can I use?
What is the easy way to do this question? After you complete
this book, you will know!
Remember, you do not lose points for wrong answers, so put
an answer for every question, even ones that you do not get to.
Even if you are running out of time at question 40 out of 60,
you must budget a few minutes to fill in an answer for the last
20 questions. It’d be crazy not to. Statistically, if you randomly
fill in the last 20 ovals, you’ll get 4 correct. That’s worth about
2 points (out of 36) on your score! So keep an eye on the
clock, and when there are a few minutes left, choose an answer
for each remaining question.
About Brian Leaf
Six, maybe seven, people in the world know the ACT like
Brian Leaf. Most are under surveillance in Iowa, and Brian
alone is left to bring you this book.
Brian is the author of McGraw Hill’s Top 50 Skills SAT and
ACT test-prep series. He is also the author of Defining
Twilight: Vocabulary Workbook for Unlocking the SAT, ACT,
GED, and SSAT (Wiley, 2009). Brian is Director of the New
Leaf Learning Center in Western Massachusetts. He teaches
ACT, SAT, and PSAT prep to thousands of students from
throughout the United States. (For more information, visit his
website www.BrianLeaf.com.) Brian also works with the
Georgetown University Office of Undergraduate Admissions
as an Alumni Interviewer, and is a certified yoga instructor
and avid meditator. Read about Brian’s yoga adventures in
Misadventures of a Garden State Yogi.
Acknowledgments
Special thanks to all the students of New Leaf Learning Center
for allowing me to find this book. Thanks to my agent, Linda
Roghaar, and my editors at McGraw Hill, Anya Kozorez and
Bob O’Sullivan. Thanks to Pam Weber-Leaf for great editing
tips, Larry Leaf for his one-liners, Zach Nelson for sage
marketing advice, Ben Allison for his unparalleled math
genius, Ian Curtis for assiduous editing, Corinne Andrews for
designing the yoga sequence, Matthew Thompson for astute
design help, Susan and Manny Leaf for everything, and of
course, thanks most of all to Gwen and Noah for time, love,
support, and in the case of Noah, Hexagons, Dexagons, and
Shmexamons.
Pretest
This pretest contains questions that correspond to our 50
Skills. Take the test, and then check your answers with the
answer key on page 11. The 50 Skills that follow contain more
detailed solutions as well as instructions and drills for each
type of question on the ACT.
DIRECTIONS: Solve each problem and choose the correct
answer.
You are permitted to use a calculator on this test.
Note: Unless otherwise stated, all of the following should be
assumed.
• Illustrative figures are NOT necessarily drawn to scale.
• Geometric figures lie in a plane.
• The word line indicates a straight line.
• The word average indicates arithmetic mean.
The lengths of the sides of a triangle are 3 consecutive
even integers. If the perimeter of the triangle is 36
centimeters, what is the length, in centimeters, of the
shortest side?
7
8
10
12
14
If 2x + 3 = 8x − 5, then x = ?
If 3x + 4y = 12, what is y in terms of x?

4 − 3x
12 − 3x
x − 12
So far, a student has earned the following scores on four
50-point quizzes during this marking period: 40, 37, 44,
and 42. What score must the student earn on the fifth quiz
to earn an average quiz score of 42 for the 5 quizzes?
42
45
47
49
The student cannot earn an average of 42.
In the figure below, if b = 100, what is the value of c ?
 125
130
132
143
163
In the figure showing ΔMNO below, line a is parallel to
line b. Which of the following angles must be congruent
to ∠ONM ?

∠NOM
∠ZMO
∠YNM
∠OMN
∠XMN
If MN = MO in the figure below, which of the following
CANNOT be true?

a≠b
b≠c
a=c
MN = NO
 a≠c
For all x, (2x − 5)(5x − 4) = ?
7x2 + 20
10x2 − 33x − 20
10x2 − 33x + 20
7x2 − 18x + 20
10x2 − 18x − 20
For all real numbers x, how many values of x are odd
prime numbers less than 20 ?
3
5
6
7
8
How many different, real number, prime factors does the
number 120 have?
None
2
3
8
10
What is the least common multiple of 30, 40, and 50 ?
1200
800
600
400
50
What is the x intercept of the line that contains the points
(−2, 3) and (4, 1) in the standard (x, y) coordinate plane?

If the slope of a line through the points (−2, 5) and (3, b)

is −1, what is the value of b ?
−2
−1
0
1
2
In the standard (x, y) coordinate plane, what is the slope of
the line with equation 3x − 5y = −12 ?

The following chart shows the results when 31 high

school juniors were asked to write the name of their
favorite movie on a slip of paper and place it in a box.

If a slip of paper is chosen at random from the box, which

of the following is closest to the percent chance that the
slip chosen will name Pitch Perfect?
4%
13%
31%
35%
69%
If f(x) = −2x2 − 3, what is f(−3) ?
33
15
3
−21
−39
A line in the standard (x, y) coordinate plane contains the
points P(3, −5) and Q(−7, 9). What point is the midpoint
of ?
(−2, 4)
(−2, −4)
 (−2, 2)
(−2, −2)
(3, 3)
If c = −2b − 2(2e − b), what happens to the value of c
when b and e are both increased by 2 ?
It is unchanged.
It is increased by 2.
It is increased by 4.
It is decreased by 4.
It is decreased by 8.
A square lot, with an area of 625 square feet, is
completely fenced. What is the length, in feet, of the
fence?
25
75
100
125
300
In the diagram below, if the radius of the large circle is 6
and the radius of the small circle is 4, what is the area of
the shaded region?

2
20
2π
 20π

A triangle with a perimeter of 89 has one side that is 19

inches long. The lengths of the other two sides have a
ratio of 3 : 7. What is the length, in inches, of the longest
side of the triangle?
19
21
29
40
49
The number of students in three school clubs is shown in
the following matrix.

The school paper reported that the student body of the

school was comprised according to the following ratios.

Given these matrices, if participation in clubs is spread

evenly among the grades, how many freshmen could be
estimated to be in the Yoga Club?
0.2
0.3
20
10
6
Points A, B, C, D, and E are points on a line in that order.
If B is the midpoint of , C is the midpoint of , and
D is the midpoint of , which of the following is the
longest segment?

In a right triangle, the measures of two sides are 6 and 10;

which of the following could be the measure of the third
side?
3
4
6
8
10
What is the shortest side of a triangle that is congruent to
triangle PQR shown below?

12
If triangle MNO (not shown) is similar to triangle PQR
shown below, and has a shortest side with length 4.5,
which of the following would be the measure of the
longest side of triangle MNO ?

4.5
6.5
9
12
15
If 5 percent of 20 percent of a number is 24 less than one-
quarter of the number, what is the number?
1
5
20
50
100
In Seth’s refrigerator he found 2 jars of mustard. He
estimated that one was full and the other was full. If
he combined the two jars into one, approximately how
full would the one combined jar be?
If x2 − y2 = 84 and x − y = 6, what is the value of x + y ?
6
8
10
12
14
Which of the following expressions is equivalent to
(−2x2y2)3 ?
−2x5y5
−8x6y6
2x5y5
8x5y5
8x6y6
If 8m2p3 = m5p, what is m in terms of p ?
p2/3
2p2/3
8p2/3
2p2
8p−2
If Sawyer charges $20 per bottle of water and a flat fee of
$25 even to discuss a sale, which of the following
equations expresses Sawyer’s total fees for x bottles of
water?
y = 45x
y = 25x + 20
y = 5x
y = 20x + 25
y = 45x
Arthur Dent buys an ice cream sundae that contains one
scoop of ice cream, one sauce, and either a cherry or
pineapple wedge on top. He can choose chocolate,
vanilla, strawberry, or banana ice cream; he can choose
chocolate, caramel, or berry sauce; and he can choose
either the cherry or the pineapple wedge for the top. How
many different arrangements of these ingredients for
Arthur’s ice cream sundae are possible?
9
14
24
44
64
For right triangle Δ XYZ, shown below, what is tan Z ?

0.2
0.6
0.75
0.8
 0.9
What is the value of θ, between 0 and 360, when sin θ =
−1 ?
0
60
135
270
330
Of the 18 socks in a drawer, 10 are solid blue, 4 are solid
pink, and 4 are pink and blue. If Cherng-Mao randomly
chooses a sock from the drawer, what is the probability
that it will NOT be solid pink?

What are the values for x that satisfy the equation (x + 4)(x
− 3) = 0 ?
−4 and 4
−3 and 3
−12
4 and −3
−4 and 3
If the graph of y = ax2 + bx + c is shown below, then the
value of ac can be
 I. Positive
II. Negative
III. 0
I only
II only
I or II
I or III
I, II, or III
A circle in the standard (x, y) coordinate plane has center
(4, 2) and radius of 5 coordinate units. Which of the
following is an equation of the circle?
(x − 4)2 − (y − 2)2 = 5
(x + 4)2 + (y + 2)2 = 5
(x − 4)2 + (y − 2)2 = 5
(x − 4)2 − (y + 2)2 = 25
(x − 4)2 + (y − 2)2 = 25
In the figure below, segment NO is a diameter of the
circle, M is a point on the circle, and MN = MO. What is
the degree measure of ∠MNO ?
 30
45
60
90
Cannot be determined from the given information
Which of the following are solutions to |n + 3| = 5 ?
I. 2
II. −2
III. −8
I only
III only
II and III
I and III
I, II, and III
Which of the following statements is NOT true about the
arithmetic sequence 20, 13, 6, −1, … ?
The fifth term is −8.
The sum of the first five terms is 30.
The seventh term is −22.
The common difference of terms is −7.
The common ratio of consecutive terms is −7.
The temperature 357°F is the point at which mercury will
boil. Since Fahrenheit and Celsius temperatures are
related by the formula to the nearest
degree, which of the following is the boiling point of
mercury in degrees Celsius?
11°C
87°C
112°C
166°C
181°C
If f(x) = 3x2, which of the following expresses f(2p) ?
6p
6p2
12p
12p2
24p3
If a board 9 feet 10 inches long is cut in half, how long is
each new piece?
4′ 9″
4′ 11″
5′
5′ 2″
5′ 5″
Suppose 0 < b < 1. Which of the following has the
greatest value?
b2
b3
log b
|b|
 b−1
What is the real value of x in the equation log2 16 =
log4x ?
2
32
64
128
256
What is (i − 2)(i − 3) ?
5 − 5i
5 − 4i
5+i
5
−1
The table below shows the results of a survey in which
180 high school students voted for their favorite movie.
Each student received one vote. According to the graph,
how many more students favored Superbad than Wedding
Crashers?

3
3.5
35
70
79.5
 Javier earned the following 7 test scores. What is the
median?
85, 92, 82, 94, 90, 80, 79
80
82
85
86
90

Answer Key
1. C
2. F
3. A
4. H
5. D
6. K
7. B
8. H
9. D
10. H
11. C
12. H
13. C
14. H
15. B
16. J
17. A
18. K
19. C
20. J
21. E
22. K
23. E
24. J
25. A
26. H
27. E
28. H
29. E
30. G
31. B
32. J
33. C
34. H
35. D
36. K
37. E
38. G
39. E
40. G
41. D
42. K
43. E
44. J
45. B
46. K
47. E
48. F
49. D
50. H
 SKILL
1
Use the Answers
For 11 years you’ve been trained to solve math problems the
long way. “No shortcuts!” Mrs. Nicholas always said. Mrs.
Nicholas was the best math teacher that I ever had, and her
advice was correct for math class. But the ACT is multiple-
choice, and we can save time and energy by using the answers;
simply test the answer choices to see which one works. To
make this even easier, when there are fractions, π, or square
roots in the questions or answers, you can convert them to
decimals. “Use the Answers” works best when there are
variables or unknowns in the question and numbers in the
answer choices.
Let’s try this on the question from the Pretest:
1. The lengths of the sides of a triangle are 3 consecutive
even integers. If the perimeter of the triangle is 36
centimeters, what is the length, in centimeters, of the
shortest side?
A. 7
B. 8
C. 10
D. 12
E. 14
Solution: This question looks pretty tough to many students,
but “Use the Answers” makes it easy! You can answer this
question by setting up an algebraic equation, or you can just
“Use the Answers.” We want 3 consecutive even integers that
add up to 36. That means we want 3 even numbers in a row,
like 2, 4, and 6. Try each choice as the shortest side and see
which one makes the situation work:
 7 is not even.
8 + 10 + 12 ≠ 36
10 + 12 + 14 = 36
12 + 14 + 16 ≠ 36
14 + 16 + 18 ≠ 36
Choice C is correct since 10 + 12 + 14 = 36. Careless error
buster: Notice that the question asks for the shortest, not the
longest, side.
Correct answer: C.

ACT Math Mantra #1

When you see variables or unknowns in the question and
numbers in the answer choices, “Use the Answers.”
Convert fractions, π, or to decimals.

Use the Answers Drills

Easy
If 3x − 4 = −10, then x = ?
−2
−1
0
2
5

Medium
 What is the largest integer value of p that satisfies the
inequality

8
9
10
11
12

Hard
Jaleesa earned a score of 160 on a recent 50-question
spelling contest. The scoring for the contest was +4 for
each correct answer, −1 for each incorrect answer, and 0
for each unanswered question. If she answered every
question, what is the maximum number of questions that
Jaleesa could have answered correctly?
8
20
40
42
46
 SKILL
2
Super Easy Algebra
Every ACT has several easy algebra questions. The key on
these is to overcome any algebra phobia still lingering from
seventh grade. You’re older and smarter than you were then,
and this stuff is predictable. It follows rules. As long as you
stay present (see Yoga, page 66), you’ll get them right. If they
give you trouble, do and redo the Pretest question and the
drills until you could teach them. Then do that—take a friend
and give a lesson. You have my permission to throw out a few
detentions if needed.
Let’s take a look at the Pretest:
2. If 2x + 3 = 8x − 5, then x = ?

Solution: Just use algebra to get x alone.

Correct answer: F.
See, easy. But if after doing the drills and reviewing the
solutions, you still don’t agree, you could just “Use the
Answers” to solve any of these algebra questions!
 ACT Math Mantra #2
When you see “then x = ?”
complete the algebra or just “Use the Answers.”

Super Easy Algebra Drills

Easy
If 6x + 6 = 36 + 3x, then x = ?
3
9
10
33

Medium
If 3(x + 4) + 2x = 2(x − 2) − 4, then x = ?
 In a certain situation, the maximum height H, in meters,
that a ball bounces is given by the equation
where F is the force, in newtons, with
which the ball is bounced. What force, in newtons, must
be applied for the height to be 0.16 meters?
0.1
0.2
0.3
0.4
0.5

Hard
Which of the following is the set of all real numbers x
such that x − 2 < x − 4 ?
The set containing only zero.
The set containing all positive real numbers.
The set containing all negative real numbers.
The set containing all real numbers.
The empty set.
Another random document with
no related content on Scribd:
with the hollyhocks and the twilights, or the winters with big fires and
snow and company coming in, all cold and laughing.
“I do think of going abroad,” she added, as for sheer pain David was
silent. “But I find myself thinking most often of getting home again,
with all the trunks and excitement, to settle again in Wastewater!”
“You really are going abroad, Gabrielle?” David asked. And to
himself he added, “Honeymoon.”
“Why, I don’t know. To-night I don’t feel as if I ever wanted to go
outside these gates again; I feel as if I wanted to stay right here,
watching them put every brick into place! But—you would like to go
abroad again some day, wouldn’t you, David?”
“Oh, I? Yes, but that’s different,” the man answered, bringing himself
into the conversation with a little self-consciousness. “Yes,” David
said, slowly, frowning into space with narrowed eyes, “I think I may
go, one of these days. I would like to do some painting in Florence.”
Another silence, so exquisitely painful, so poignantly sweet, that
David felt he might stand so for ever, watching her, leaning in all her
beauty and her fragrant youth against the grim old dial, looking
sometimes at him, and sometimes off to sea, with her glorious and
thoughtful eyes.
“David, I got your message,” she said, suddenly, in a voice oddly
compounded of amusement and daring and a sort of fear.
“I’m glad,” David answered, mechanically. And then, rousing himself,
he added in surprise, “What message?”
“On the little draught of the house plans,” Gabrielle answered,
serenely.
“Which plans were those, dear? The ones Jim sent to San
Francisco?”
“He sent them to San Francisco too late, but they sent them on and
we got them in Panama.”
“Did I send a message with them?” David asked, not remembering it.
“Scribbled on the margin of one of them,” Gabrielle nodded.
“A message—to you?” David said, in surprise.
“Well, I read it so.” The girl fell silent, and a robin with a warmly
stained breast, and a cocked head, hopped nearer and nearer to
them.
“I don’t remember,” David admitted, after thought. It was obvious that
she wanted him to remember it, but, stupidly enough, he seemed to
have no recollection of it whatever.
“I think it must really have been to Jim Rucker,” Gabrielle added,
innocently. “It began ‘Dear Jim.’”
The blood came to David’s face and he laughed confusedly.
“I—did I scribble something to Jim on the margin? I remember that
we sent the plans back and forth a good deal,” he said, in a sort of
helpless appeal.
“I’ll show it to you,” Gabrielle answered, suddenly. She put her hand
into her pocket and brought out a curled slip of paper that had been
cut from the stiff oiled sheet of an architect’s plans. “Here, David,”
she invited him. “Read it with me.”
And she flattened it upon the old dial and glanced at him over her
shoulder.
David, hardly knowing what he did, let his eyes fall upon the
pencilled words. He read:
Dear Jim:
No letter, but a message about her in one from Sylvia. Tell
Mary I’m sorry I cut her dinner party!
It was signed with David’s own square, firm, unmistakable “D.”
“When I read that,” said Gabrielle, looking up with her face close to
his, as he leaned at her shoulder, “I knew that the man I loved, loved
me. And after that I couldn’t get home fast enough.”
“Gabrielle,” David said, trembling, and now she was in his arms. “Is it
really so, dear? Dearest and loveliest of women, do you mean what
you say?—Do you know what you are doing? I’m not the brilliant sort
of man that you might marry, dear—I’ll never be rich, perhaps I’ll
never be successful——”
“Ah, David,” the girl answered, facing him now, with both hands upon
his shoulders, as he held her with his arms lightly linked about her,
“do let’s not have any more misunderstandings and silences and
half-said things at Wastewater? Tell me that you love me——”

There was a milky spring twilight in the old garden now; the sea had
mysteriously blended itself with the sky, and a mild great moon was
rising before the last of the sun’s radiance had fairly faded from the
west. As the enervating warmth of the day died, delicious odours
began to creep abroad in the dusk, and the plum tree that had burst
prematurely into bloom shone like a great pale bouquet against the
gathering shadows.
There were smells of grass and earth, the sweet breathing of a world
wearied after the unwonted hours of sunshine; there was the clean
smell of new paint from the regions back of the farmhouse and barn.
The birds were still now, and the very sea seemed hushed.
And to both David and Gabrielle, as they dreamed of the days to
come, the golden days of responsibilities and joys unthinkable now, it
seemed that no hour would eclipse this hour, when they two, children
of the old place, found love among its ruins, and planned there for a
better future.
All the terrors, all the whispers, voices, fears, and hates, all the
secrets and conspiracies that had shadowed Wastewater in its old
and arrogant days were gone. Roger with his vanity and arrogance
was gone, Lily with her tears, Cecily frightened and saddened in her
youth, Flora with her dark repressions and thwarted love.
The old Sylvia was gone, too, and in her academically complacent
place was the much more human Mrs. Tom Fleming. And David was
gone; never again would he be only the dreamy, detached painter,
the amused older brother and audience for the younger folk, the
philosopher who looked at love dispassionately. David was a man,
now, and the thought of having this woman for his wife, the thought
of the future, when they two would make a home together, for ever
and for ever, as long as life should last, made him feel as shaken, as
awkward, as humble and ignorant as the boy he had never really
been.
All gone. But there remained, steadfast, gray-eyed, sometimes all a
mother, sometimes all a child, always simple, direct, loving, anxious
for peace and harmony, this tawny-headed waif who had drifted in
among the black Flemings so mysteriously, who had flourished upon
neglect and injustice, who had borne sorrow and shame
courageously and unfalteringly, and who was now, of them all, left to
be mistress here, to begin the new history and the new line.
“David, we will go to Florence together, in the fall, if we can tear
ourselves away from our new house, and you shall copy little
Dizianis and Guardis!”
“Ah, Gabrielle, don’t, my dear. I can’t—I can’t believe it. It seems too
much.”
“But we’ll come back for a housewarming at Christmas time, David,
and not miss one instant of the spring!”
“Yes, my darling,” David said.
“And we’ll have days in the city, David, buying towels and muffin
rings,” the girl said, rejoicingly. “And then you’ll have an exhibition in
April, and won’t you be proud of your nice furry wife, walking about
among the pictures and listening to what people say!”
“I can hardly be prouder of her than I have always been, Gay.”
Silence. Her right hand was upon his shoulder, and his arm was
strong and warm about her. David had only to bend his head to kiss
the crown of her tawny, uncovered hair; the whole gracious, fragrant
woman was in his arms. Their left hands, clasped, rested upon the
dial.
So resting, they obscured the blackened old face that had serenely
marked the hours under thin Scotch suns, under more than a
hundred passionate years of the hotter suns of the New World. They
hid the old legend:
Turn, Flemynge, spin agayne,
The crossit line’s the kenter skein.
THE END
 TRANSCRIBER’S NOTES:
Obvious typographical errors have been corrected.
Inconsistencies in hyphenation have been
standardized.
Archaic or variant spelling has been retained.
New original cover art included with this eBook is
granted to the public domain.
*** END OF THE PROJECT GUTENBERG EBOOK THE BLACK
FLEMINGS ***

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.