You are on page 1of 67

How to Read the Wilderness : An

Illustrated Guide to North American


Flora and Fauna Nature Study Guild
Visit to download the full and correct content document:
https://ebookmass.com/product/how-to-read-the-wilderness-an-illustrated-guide-to-no
rth-american-flora-and-fauna-nature-study-guild/
HOW TO READ
THE WILDERNESS
BY THE NATURE STUDY GUILD

HOW
TO
READ
THE
WILDERNESS
A N I L LU ST R AT E D G U I D E TO T H E
N AT U R A L WO N D E R S O F N O RT H A M E R I C A
Copyright © 2022 by Keen Communications, LLC.
All rights reserved. No part of this book may be reproduced
in any form without written permission from the publisher.

Library of Congress Cataloging-in-Publication Data

Names: Nature Study Guild (Berkeley, Calif.), author.


Title: How to read the wilderness : an illustrated guide to the
Natural Wonders of North America / by The Nature Study Guild.
Description: San Francisco : Chronicle Books, [2022] |
Includes bibliographical references.
Identifiers: LCCN 2022012376 (print) | LCCN 2022012377
(ebook) | ISBN 9781797206868 (hardcover) |
ISBN 9781797212371 (ebook)
Subjects: LCSH: Natural history--North America--Juvenile
literature. | Plants--Identification--North America--Juvenile
literature. | Animals--Identification--North America--
Juvenile literature. | Stars--Names--Juvenile literature.
Classification: LCC QH102 .N38 2022 (print) | LCC QH102
(ebook) | DDC 508.7--dc23/eng/20220523
LC record available at https://lccn.loc.gov/2022012376
LC ebook record available at https://lccn.loc.gov/2022012377

Curation by John Lasack.


Design by Kelley Galbreath.

Chronicle books and gifts are available at special quantity


discounts to corporations, professional associations, literacy
programs, and other organizations. For details and discount
information, please contact our premiums department at
­corporatesales@chroniclebooks.com or at 1-800-759-0190.

Chronicle Books LLC


680 Second Street
San Francisco, California 94107
www.chroniclebooks.com
CONT ENTS

TREES
7

FLOWERS, FRUITS & FERNS


85

MAMMALS & BIRDS


187

THE OCEAN
281

THE NIGHT SKY


327

Sources | 390
PA R T 1

TREES
Trees of the
Pacific Coast
here are different areas where you’re likely to find certain
types of trees growing:

ON WARM, SUNNY RIDGES


These trees grow slowly with roots in dry, rocky soil, where
wind blows away the snow and shapes their resinous foliage.
Among them you’ll find lairs and lizards.

ON STREAM BANKS OR IN SOGGY SOIL


These trees grow fast, have shiny, pliable foliage, easily bro-
ken twigs, soft wood, and birds.

ON THE SEACOAST
These are often trees that grow only on windy slopes facing
the sea, usually in sandy soil.

IN BURNED AREAS
Unless fire returns, these trees will eventually be replaced by
more shade-tolerant species.

IN ABANDONED FARMYARDS, OLD SETTLEMENTS


These trees grow so well on the Pacific coast they may
seem to be native species, but they or their ancestors were
planted here.

9
how to re ad the wilderness

Other ways of categorizing trees:

DECIDUOUS TREES
These are leafless in winter
or the dry season.

SHRUBBY TREES
These are trees that often
grow as shrubs and become
trees only on sheltered slopes
and canyons.

The climate of this area has damp, foggy


sea air, a long growing season, and abun-
dant rain. It supports a deep, dark, ferny
forest where trees must compete
for sunlight.

The DOMINANT TREES of this


forest grow rapidly, straight
upward toward the light.
Before clear-cut logging,
the shade kills back lower
trunk branches and produces
fine-grained, knot-free lumber.

The smaller UNDERSTORY


TREES are shade-tolerant
throughout life and often
capture weak light with
thin, broad, horizontally
held leaves. They may grow
sideways toward a patch of
sunlight.

10
Average

trees
Rainfall

|
(inches per year)

t h e pac i f i c coa s t
over 128 in.
(3.25 m)

64 to 128 in.
(1.6 to
3.25 m)

32 to 64 in.
(80 cm to 1.6 m)

16 to 32 in.
(40 to 80 cm)

8 to 16 in. (20 to 40 cm)

under 8 in. (20 cm)

11
The Pacific coast climate is drier toward the south and in the low-
how to re ad the wilderness

altitude inland valleys:

In the MIXED-EVERGREEN
FOREST of the coast ranges,
there are no big redwoods
or hemlocks. Small Douglas
firs dominate. Leaves here
are often thick, leathery, and
evergreen. This slows evapo-
ration of moisture during dry
summers and takes advan-
tage of mild, wet winters.

In the CALIFORNIA OAK-


WOODS , short, muscular-
looking, deep-rooted trees
with small, bristly leaves
stand far apart, or else
cluster along canyons and
north-facing slopes. Even the
pines here look stunted.
Much of this area is a
mosaic of woods, grassland,
and chaparral (stiff, dry,
evergreen shrubbery) on
hot slopes.

12
Average

trees
Growing Season

|
(frost-free days)

t h e pac i f i c coa s t
This map shows why
coast-range forests differ
from higher-altitude forests
of the Sierra Nevada and
Cascades. (see next page)

over
300 days

240 to 300

180 to 240

120 to 180

60 to 120

under 60 days

13
Climbing into high mountains is like going north
how to re ad the wilderness

(and going north is like climbing). The climate


turns colder and usually wetter, and vegetation
resembles the fir forest of Canada. Further Sierra
up you see small spire-shaped trees as in Nevada
interior Alaska. The alpine zone is treeless Cascades
like the Arctic barrens.

ALPINE ZONE
(TREELESS)

SUB -ALPINE ZONE

RED FIR FOREST

SILVER FIR FOREST

MIXED CONIFER FOREST

DOUGL AS -FIR ,
CEDAR , HEMLOCK
FOREST

OAK WOODL AND

14
trees
|
t h e pac i f i c coa s t
The dry lower elevations of the
MIXED CONIFER FOREST are often
open pine woods (with chaparral).
In higher elevations, more rainfall
supports more kinds of trees, larger
and closer together.
Most adult trees here have
thick, corky trunk bark and can sur-
vive small ground fires. Accumula-
tions of unburned undergrowth and
fallen wood may support larger,
killing fires. Hillside trees may be
fire-hollowed on the uphill side
where logs roll against trunks and
later burn.

15
how to re ad the wilderness

In the MOUNTAIN FIR FOREST,


branches are shaped to shed
heavy snowfall. You’ll find curved
lower trunks on trees that grew
from saplings bent by a thick,
sagging snowpack.
Fires are rare here but wreak
disaster when they come to the
“tinderbox” of twiggy deadwood
and lower branches.
The dense fir forest is on the
better soils. Pines grow where
it’s rockier, and in burned areas.
Lodgepole pine grows in moun-
tain basins or “flats” where cold
night air drainage collects.

16
trees
|
t h e pac i f i c coa s t
To survive in the SUBALPINE
ZONE , trees must mature
their new growth in a short,
unreliable summer where
you can make snowballs
in July and expect frost in
late August.
The higher you go, the
smaller the trees. Near the
upper limit of this zone, trees
can survive only where snow-
drift seals out the abrasive,
drying wind.

On the dry EASTERN SLOPES


of high mountains, the
trees most likely to grow
are Rocky Mountain trees,
adapted to a severe cold-
dry climate.

17
Identifying
how to re ad the wilderness

Oak Trees

If the leaf is simple (not made up of leaflets), the


main veins branch off from a single large central
vein, and the leaf is lobed, it’s an OAK. Go to

If the first two are true but the leaf is not lobed,
go to

If the lobes are pointed and bristle tipped, go to

If the lobes are blunt and rounded (may have a


single point at end of the lobe), go to

If the lobes are shallow, it is ORACLE OAK


Quercus ×morehus

If they’re deeper, or if the leaves are over 4 inches


(10 cm) long, it is CALIFORNIA BLACK OAK
Quercus kelloggii

18
|

19
trees t h e pac i f i c coa s t
how to re ad the wilderness

If the leaves have soft hairiness on the topsides and


seven to eleven deeply cut lobes; and if the trunk
bark is deeply checkered into squarish plates; or if
there are long hanging branches or long acorns, it
is VALLEY OAK, ROBLE Quercus lobata

If the leaves are shiny on top with fewer lobes;


or if you can rub off whitish-gray bark scales;
or if there are stubby acorns, it is OREGON OAK
Quercus garryana

20
|

21
trees t h e pac i f i c coa s t
how to re ad the wilderness

If the leaf stems are shorter than 1 inch (2.5 cm),


the leaves don’t grow out opposite each other, and
the leaf margins are smooth curves, without teeth
or notches, go to

If the above is true but the margins have teeth or


notches, go to

If the leaf has no strong, penetrating odor when


you crush it; there is no conspicuous, smooth,
red-brown bark on the branches; and the leaves are
not yellow but are longer than 1 inch (2.5 cm), go to

If the main veins branch out into smaller veins


without reaching the edge of the leaf, go to

If the leaves are not narrow and bendy (with sharp


tapered tips, and with the widest portion toward
the base rather than toward the tip); nor are they
narrow or paddle shaped (wider toward the tip
and with a wedge-shaped base); and if there are
fewer than twenty-five teeth along their margins
or none at all, go to

If the leaves are dark green; or if the bark is black-


ish, not scaly or checkered, go to

If the leaves are light green or bluish; or if there is


scaly or checkered bark, go to

22
trees
If the leaves are convex on top and have tufts of

|
hair where the veins join on the undersides, it is

t h e pac i f i c coa s t
COAST LIVE OAK Quercus agrifolia

If the leaves are flatter, hairless, and some are


without spines, it is INTERIOR LIVE OAK Quercus
wislizeni

23
how to re ad the wilderness

If the leaves are shiny green on top and whitish


below, it is MAUL OAK, CANYON LIVE OAK
Quercus chrysolepis

If they’re dull blue green on both sides, go to

If you’re in northern California, it is BLUE OAK


Quercus douglasii

If you’re in southern California, it is


ENGELMANN OAK* Quercus engelmannii

Oak trees and their shrub relatives breed promiscuously. You’ll often
find hybrid forms with mixed traits of several species. Identifying
them is beyond this guide.
*Except at Joshua Tree National Park, where the usually shrubby Q. turbinella is treelike

24
|

25
trees t h e pac i f i c coa s t
Trees
of the
Southwestern
Desert
if the tree you are identifying grows among:

fire plugs grassy graves water tanks

putting greens orange blossoms fountains

pools or sounds of lawn mowers and air conditioners,

you are in a man-made oasis.

27
These symbols show how or where desert trees are likely to grow:
how to re ad the wilderness

RIPARIAN TREES:Their roots are in permanent


underground water.

TREES OF DESERT WASHES: They grow where flood


waters gather after a thunderstorm.

EVERGREEN TREES: In leaf all year long.

TREES LEAFLESS IN DRY SEASONS: They leaf out only


after a good rain.

TREES LEAFLESS in winter only.

TREES OF THE OAK-JUNIPER WOODLAND: These trees


of higher altitudes also grow in canyons and cool slopes
at the edge of the desert.

TREES INTRODUCED BY HUMANS that have escaped from


cultivation and are now growing wild.

DOMESTICATED TREES OF THE DESERT, planted in


parks, yards, and cemeteries.

28
Here are some ways trees survive in the desert.

trees
|
Trees have long roots SAGUARO MESQUITE

the southwestern desert


(some spread wide) (some go deep)

They conserve water by having:


YELLOW PALOVERDE

• small leaves
YUCCA

• thick-skinned leaves PALOVERDES

• leaves that drop in the dry season


VELVET
MESQUITE
• hairy leaves and twigs

• thick, fleshy trunks for water storage


ELEPHANT TREE
SAGUARO

They discourage grazing by having: JUMPING CHOLLA

• barbed, sticking thorns CANOTIA

• stout, piercing thorns


CATCLAW
• hooked, tearing thorns ACACIA

• poisonous sap

WESTERN SOAPBERRY

29
how to re ad the wilderness

Rainfall
Most of the rain in the desert falls in the cool higher altitudes of the
surrounding mountains. Lower altitudes are warmer, but the rainfall
there may dry up in midair. The high-rainfall areas on this map also
show where the high mountains are:

Average
Rainfall
over 16 in.
(40 cm)

8 to 16 in. (20 to 40 cm)

4 to 8 in. (10 to 20 cm)

under 4 in. (10 cm)

Where the average yearly rainfall is under 16 inches (40 cm), it makes
a great difference to trees how much the amount of rain varies from
year to year and what season the rain falls—matters which depend on
seasonal winds from the Atlantic and Pacific Oceans.

30
trees
Winter Rain

|
Weakened remnants of the winter storms that drench the California

the southwestern desert


coast can bring sparse, gentle rain as far east as the Continental
Divide. But many desert trees can’t benefit from rain in winter, when
it’s too cool for their roots to grow or seeds to germinate. Winter
rains seldom reach the Chihuahuan Desert. It has dry, frosty winters.

MOJAVE DESERT Continental Divide

SONORAN DESERT

Colorado CHICHUAHUAN DESERT


Desert

Arizona Desert

Summer Rain
Monsoon winds can bring unstable, tropical air from the Gulf of
Mexico. The resulting thundershowers soak unevenly into the soil,
but they come at the best season for trees. Summer rains are most
reliable in the eastern end of the Sonoran Desert (the desert with
the most abundant trees). To the west, the rains thin out and may
skip a year. The trees are smaller and farther apart too.

31
Desert Soils
how to re ad the wilderness

Desert mountains stand knee-deep in their own debris—eroded rock,


gravel, sand, and clay— which forms long bajadas (slopes) leading
down to an intermountain basin or valley. In the desert dryness, soil
changes along these slopes can mean life or death for trees. Violent,
splashing rain causes sheet erosion, which makes a network of tem-
porary watercourses emptying into desert washes. The erosion carries

Upper Bajada
Coarse, absorbent soil makes this the
best part of the desert slope for trees.

Lower Bajada
Here trees grow only in washes
where flash floods soak in.

Desert Mountain
Here trees grow wherever a
cool rock crevice holds water
within reach of roots.

32
trees
the finer soil particles farther downslope than the coarser sand and

|
the southwestern desert
gravel. So as you descend a bajada, the trees thin out because the soils
become finer, less porous, less able to absorb the quick rains that run
off and collect in the washes. Trees grow in the washes, especially
where a layer of windblown sand collects in the depressions and holds
moisture in the soil.

Bottomlands
Here permanent underground water may
be near enough to the surface to support a
riparian wood of large mesquites, cotton- Playa
woods, hackberries, walnuts, ashes, and— In the desert basin,
where the water surfaces—willows. water evaporates to
leave brine and salt—
no trees.

level of permanent underground water

The abruptness of change along the bajada is exaggerated in this diagram.

33
Identifying Cholla,
how to re ad the wilderness

Saguaro, and Yucca


If the tree is a cactus, fleshy outside, woody
within; and bears clustered spines, go to

If it’s not a cactus, go to

If there are many jointed-looking branches that


divide into smaller branches pointing in all direc-
tions, it’s a CHOLLA. Go to

If the branches are few, or if they all come up from


the ground, go to

Flowers are orange


to brown. Fruit per-
sists on the plant
through winter.

34
trees
|
the southwestern desert
If the jointed branches are densely covered with straw
colored spines, the trunk bark is black, and the fruits dangle
in long clusters, it is JUMPING CHOLLA Opuntia fulgida

If the spines are dark, of uneven length, and the trunk bark
is lighter, it is STAGHORN CHOLLA Opuntia versicolor

The joints, which can sprout a new plant,


detach or “jump” at a touch. Barbed
spines discourage a second touch.

35
how to re ad the wilderness

If a single trunk rises from the ground, it is


SAGUARO Cereus giganteus

Saguaro branches are


crowned with waxen,
night-blooming flow-
ers in April, and edi-
ble red fruit in June
(harvested by the
Tohono O’odham).
After rain, trunk
corrugations flatten
out as flesh absorbs
water and swells.

36
trees
If the leaves are clustered at the tip of a single

|
trunk (or at the tips of branches), and if the leaves

the southwestern desert


are stemless, spear-shaped, it’s a YUCCA. Go to

If there are only a few branches, or just a main


trunk; and if the leaves are edged with peeling
fibers, go to

If the tree has many branches, and if there


are small, sharp teeth along the leaf edges, it is
JOSHUA TREE Yucca brevifolia

37
how to re ad the wilderness

If the leaves are stiff, daggerlike; and dead leaves


cover the trunk almost to its base, go to

If the leaves are flexible, grasslike, it is SOAPTREE


YUCCA, PALMILLA Yucca elata

The flower stalk is long,


bearing many flowers on
its upper part, but naked
on its lower part. Seed
capsules open in three
parts to release seeds
and remain on the stalk
through the winter.

On dry yucca seedpods you’ll find a small


hole made by the escape of a larva that fed
on some of the seeds. It grew from an egg
laid by a female yucca moth, whose instinct
then made her pollinate the yucca flower,
thereby ensuring seed formation. This
probably happened at night, when desert
creatures do business after hiding from the
hot daytime sun.

38
trees
If the leaf has many whitish threads along its edge, and

|
flower clusters are 3 to 4 feet (1 to 1.2 meters) long, it

the southwestern desert


is TORREY YUCCA Yucca torreyi

If the leaf is edged with coarse, splinter-like fibers,


and the flower cluster is shorter, it is MOJAVE YUCCA
Yucca schidigera

39
Trees of
the Rocky
Mountains
Rocky Mountain Tree Distribution
Climate limits where trees can grow. The very things people
like about the Rocky Mountain climate—cool summers and
deep snow at high altitudes, year-round dry sunshine in the
low altitudes—are hard on trees. The Rockies have abundant
water and warmth, but not in the same places. Trees here
must adapt to extreme temperatures, intense sunlight, and
drying winds.

Some trees are adapted to hot, dry foothills: A


3-inch (7.5-cm) ponderosa pine seedling may
have roots 2 feet (60 cm) long. It can take soil
surface temperatures of 180°F (82°C), but a
heavy frost can kill it.

Other trees can survive short summers and


bitter winters: The new needles of subalpine fir
resist frost, and its branches shed heavy snow.
But its roots are shallow and could not survive
the dry heat of the foothills.

41
how to re ad the wilderness

Each tree’s range has an upper


limit, the altitude above which
it’s too cold for the tree to
grow, and a lower limit, below
which it’s too dry.

SUBALPINE FIR

DOUGL AS FIR

PONDEROSA PINE

42
These are the five LIFE ZONES found at different altitudes in the Rocky

trees
Mountains. Some trees grow in several zones, but if you know what

|
zone you’re in you can usually tell what trees you’ll find.

t h e r o c k y m o u n ta i n s
Plains Zone
Upper Sonoran Zone—annual rainfall 10 to 20 inches (25 to 50 cm)
Grasses, sagebrush, or dry shrubbery dominate this zone, the driest
in the Rocky Mountains. To survive here, trees must have roots that
reach moisture.

SMALL TREES grow with


wide-spreading roots in
loose, porous soil or the The only LARGE TREES are
cool crevices of a rocky ones rooted in subsurface
outcrop: water along a stream bed:

• Pinyons • Cottonwoods
• Gambel oak • Hackberries
• Junipers • Boxelder
• Mountain mahogany • Willows

43
Another random document with
no related content on Scribd:
Etait-il onze heures? Etait-il minuit? Elle crut entendre des pas, dehors,
devant le perron. Elle écouta quelques moments.
—Je me suis trompée... D’ailleurs, qu’importe?
Et, tout à coup, au pied de sa fenêtre, une voix qui tâchait de ne pas trop
se faire entendre:
—Maman!... c’est moi!... Viens m’ouvrir!
Etait-ce une hallucination de son cerveau malade à force de souffrance?
Tout doucement, elle ouvrit sa fenêtre, poussa la persienne. En bas, dans
le faible clair de lune, une silhouette immobile, la tête levée vers la croisée
éclairée.
—Laurent?... appela-t-elle d’une voix étouffée, c’est toi?
—Oui, c’est moi. Viens m’ouvrir!... J’ai à te parler.
Allait-elle avoir peur, peur de son fils?
Elle répondit, affaiblie dans tout son corps par l’émotion:
—Je descends! Attends-moi!
Et comme elle glissait dans les escaliers, une bougie à la main, comme
elle s’énervait à tirer sans bruit les barres de la porte, l’espoir, une dernière
fois, envahit son cœur incorrigible.
«Peut-être qu’il vient... qu’il vient me dire qu’il me pardonne...»
La porte était ouverte. Dans la lueur remuante de la bougie, il apparut,
grand, pâle, les yeux immenses, les boucles noires de sa tête sans chapeau
dérangées comme par un coup de vent—le vent de la course qu’il venait de
faire en auto, sans doute. Et, tout de suite, à son haleine, à l’on ne sait
encore quoi qu’elle devina dans l’ombre: «Il est ivre!...» pensa-t-elle.
—Allons au petit salon... dit-il.
Elle le précédait, éclairant leur marche indécise.
Ils ne s’assirent ni l’un ni l’autre. La bougie répandait sa petite lumière
et ses grandes ombres à travers les meubles. Le silence de la demeure
endormie était écrasant.
Il se tenait devant elle, sauvage et viril, ses belles mâchoires légèrement
bleuies par la barbe rasée. Un grand foulard de trois couleurs pendait le
long de ses habits bien ajustés.
—Il me faut dix mille francs... dit-il sans attendre. Tu vas me les donner.
Malgré ses yeux qui l’hypnotisaient, qui la clouaient sur place, elle eut la
force d’articuler:
—Non, Laurent.
—Non?...
Il avait fait un pas, avançant sur elle. Elle vit qu’il titubait un peu.
—Tu es ivre!... prononça-t-elle avec un dégoût immense.
—Ça se peut!... ricana-t-il. Mais ça ne m’empêche pas de savoir ce que
je veux!
Et, tout à coup, sa colère éclata, rauque, étouffée par le souci de ne pas
éveiller la maison.
—Tu vas me les donner, tu entends?... sans ça... sans ça je mettrai le feu,
je tuerai, je ferai n’importe quoi! N’importe quoi!...
Fût-ce l’horreur? Fût-ce la terreur? Elle ouvrit grande la bouche; et
Laurent vit qu’elle allait crier.
—Ne crie pas!... gronda-t-il en la saisissant brutalement au bras, ou
bien...
Elle ne voulut pas entendre le reste de cette parole inadmissible.
—Laurent!... Laurent... tais-toi!... Je vais te donner ce que tu demandes...
Un chèque que tu pourras toucher au chef-lieu. Seulement, écoute...
écoute!... Il faut que tu t’en ailles, dès demain, avec tes amis. Tu ne peux
pas me déshonorer plus longtemps! Il paraît que tu...
—C’est bon!... coupa-t-il. Va me chercher le chèque! Après, nous
verrons!
Elle reprit la bougie, et, le laissant dans l’obscurité, furtive, dramatique,
elle sortit du salon en courant.
*
**
Le lendemain, à la surprise de tout le pays, le manoir de la route de
Fleurbois était vide. La bande avait dû repartir avant le lever du jour, car
personne n’avait rien vu.
Mᵐᵉ Carmin, alitée, couvait le secret de sa nuit. Nul ne saurait jamais ce
qui s’était passé entre elle et son fils. Elle savait, maintenant, que sa ruine
était certaine. Laurent, en deux ans, avait dévoré l’argent gagné dans sa
course Paris-Lisbonne.
—Il me prendra jusqu’à mon dernier sou!
Cela, c’était le cri de l’avarice. Il y en avait un autre, bien plus
abominable:
—Il me tuera un jour!...
Elle ajoutait en fermant les yeux:
—... Si je ne meurs pas de chagrin avant...
Au bout de trois jours elle put se lever, chancelante et défaite. Les
servantes la soignaient, le cœur saignant devant cette crucifixion. Et l’oncle
Jacques aussi la soignait, qui, rabroué par le curé, n’osait plus rien dire.

Il y avait cinq jours qu’elle était sur pied quand la nouvelle lui fut
apportée. Les trois autos étaient revenues au manoir. Laurent et ses amis
étaient là de nouveau.
Alors, vaincue, ayant fait appeler l’abbé Lost et son frère:
—Je suis décidée, leur dit-elle. Je ne peux plus rester ici. Demain je
commence mes bagages et j’écris à mon notaire pour mettre le château en
vente.
XV

DERNIER DU NOM

Après avoir pris cette détermination qu’elle savait inébranlable, Mᵐᵉ


Carmin se sentit l’âme comme assainie.
Partir!
Pour ne se donner pas le temps de s’appesantir sur des pensées
profondément amères, elle se mit tout de suite à l’œuvre et passa le reste de
la journée à ranger ses papiers.
Jacques de Bonnevie, consterné, restait près d’elle, la suppliant de
renoncer à son projet. Mais elle ne l’écoutait même pas.
Quand ils eurent dîné tous deux, elle passa dans le petit salon pour y
commencer la correspondance que comportait son départ. Son frère l’avait
suivie, la tête basse.
—Et moi?... répétait-il, et moi?... Qu’est-ce que je deviens, dans tout
ça?... Et l’abbé?... Ce n’est pas possible que tu nous lâches comme ça,
voyons!...
Absorbée, elle écrivait, sans lui répondre, sans le regarder.
—Alors, bonsoir!... dit-il enfin. Je vais me coucher.
—Jacques, répondit-elle d’un air singulier, je te demande, au contraire,
de rester près de moi...
Il ne comprit pas. Il ne pouvait pas deviner qu’elle avait peur, peur de
son fils-nocturne.
—Bien... fit-il. Alors je vais dormir... Si j’avais su, j’aurais apporté mes
papiers.
Il sommeillait, elle écrivait.
Contractée dans l’effort de rester lucide et froide, elle établissait le calcul
de tout ce que Laurent lui avait coûté, depuis la balafre de Clémentine
jusqu’aux dix mille francs extorqués six jours plus tôt. Ensuite, elle faisait
l’énumération de ses biens, leur rapport exact, puis supputait le prix auquel
elle allait vendre son château. Les chiffres s’alignaient sur le papier, vivants
comme des êtres pour cette Normandie regardante.
Elle venait de faire la preuve d’une longue addition, et trempait sa plume
pour continuer ses calculs. Quatre fort grands coups dans la porte d’entrée
la firent sursauter, lui arrachant un cri d’épouvante.
Jacques avait bondi.
Mᵐᵉ Carmin joignit les mains. Ses dents claquaient.
—N’ouvrons pas... chuchota-t-elle, c’est Laurent!
—Laurent?... A cette heure-ci?...
Là-dessus, les coups redoublèrent. Et, pour leur ébahissement terrifié,
des cris de femme percèrent la nuit.
—Au secours!... Au secours!... Ouvrez! Ouvrez!
On entendit le remue-ménage des domestiques, en haut. François, le
jardinier, parut à la porte du salon, une bougie dans une main, son fusil dans
l’autre, puis les trois servantes affolées.
—Madame... Madame... On a regardé par la fenêtre... Il y a un clair
magnifique. On a vu. C’est une femme toute seule, qu’a des cheveux dans
le dos... Tenez!... la voilà qui recommence!...
—Allons ouvrir!... dit Jacques de Bonnevie, livide.
Le fusil braqué, le jardinier marchait devant. Mais ce fut Jacques qui, la
porte ouverte, parla.
—Qui êtes-vous?... Qu’est-ce que vous voulez?...
—Oh! m’sieurs et dames, ne me tuez pas!...
L’inconnue reculait, les mains suppliantes. Elle bredouilla rapidement,
en proie à l’effroi:
—J’ai fini par trouver votre château. J’étais passée devant en auto... Il
faut que vous veniez vite, vite!... Ils se sont tous battus, là-bas... Il y en a un
de tué à coups de bouteille, et Laurent...
Un sanglot l’interrompit. Les doigts aux joues, elle reprit:
—Laurent a un coup de couteau dans le ventre! Il va mourir!
Elle se remit à crier, délirante, en répétant:
—Il va mourir!... Il va mourir!...
Mᵐᵉ de Bonnevie ne sut pas comment elle se trouvait dehors, secouant
cette femme aux épaules.
—Qu’est-ce que vous dites?... Qu’est-ce que vous dites?...
Un mélange de chypre et d’alcool l’inondait d’une odeur canaille. Les
cheveux défaits de l’autre s’entortillaient autour de ses mains.
—Je suis Fifi, hoquetait la malheureuse, amie de Laurent!... J’ai tout vu.
Je vous dis qu’il va mourir si vous ne venez pas le sauver tout de suite!...
Que se passa-t-il? A qui revint l’initiative de la chose. Quelques
moments plus tard, le tonneau roulait sur la route illuminée de lune, au
galop du cheval fouetté par Jacques. Mᵐᵉ de Bonnevie, à côté de lui, la fille
cramponnée derrière avec le jardinier, personne ne disait plus un mot.
Tout était allumé dans le manoir. Mais le silence y régnait.
—Oh!... rugit la fille en entrant. Ils sont tous partis! Ah! les...
Elle n’essayait même pas d’atténuer les ordures que vomissait son
indignation.
Hagarde, encore fardée malgré les larmes qui la barbouillaient, à demi-
dévêtue, elle montrait, aux lumières, un visage d’environ trente ans, joues
molles entre les mèches teintes au henné, petites narines ouvertes, bouche
sensuelle, avec de magnifiques yeux bleus, largement bistrés par le vice et
le koh’l.
Dans la maison subitement vide, abandonnés au fond de la salle à
manger, il n’y avait plus que le cadavre et le blessé, l’un sous la table et
l’autre dans un coin, chacun entouré de sa petite mare de sang.
Le désordre de la nappe, chavirée avec sa vaisselle, les chaises brisées,
les bouteilles de champagne cassées, disaient la bataille après la fête,
éloquence tragique.
Mᵐᵉ Carmin s’était ruée dès le seuil. A genoux près de Laurent évanoui,
lui soulevant la tête, elle sentit deux autres mains, brûlantes et douces,
mêlées aux siennes. Fifi, la fille, était à côté d’elle, à genoux comme elle.
—Vite!... Vite, François, reprenez la voiture, allez chercher le médecin à
la ville!
—Surtout, ne le soulevons pas!... murmurait l’oncle Jacques, penché sur
le blessé.
—Ah! si seulement je savais conduire l’auto!... se lamenta Fifi. Ils lui
ont laissé la sienne. Je l’ai vue en entrant dans la cour.
Une crise de passion la jeta sur Laurent, dont elle se mit à baiser la
bouche avec fureur.
—Mon Laurent!... Ils me l’ont tué!... Ah! je t’aime! Je t’aime!... Depuis
trois ans il me battait, il me faisait tout!... Ça m’était égal! C’était mon
homme! Moi qui pourrais être sa mère, il n’avait qu’à me regarder avec ses
yeux qui font peur, je lui obéissais. Tout le monde lui obéissait, d’abord!
C’était un chef, celui-là! Quand il vous regardait un homme, il en faisait un
chien. Quand il vous regardait une femme... Ah! les garces!... Elles le
voulaient toutes. Et si généreux! Il donnait tout ce qu’il avait! Et peur de
rien!... De rien!... Pas plus des flics que des autres bandes! Il réussissait tous
ses coups! Il était toujours le plus fort! Il fallait le voir se battre!... Et quand
il chantait, avec sa voix qui vous chavirait!... Et ils t’ont arrangé comme ça,
toi! Toi!... Laurent! Laurent!... C’est ta Fifi!... Ta Fifi pour la vie, tu sais
bien!... Laurent, mon gosse, ouvre-les, tes grandes châsses qui vous
décarcassent, qui vous font obéir, même quand on ne veut pas!...
Un frisson parcourut tout le corps de Mᵐᵉ Carmin de Bonnevie. Elle le
savait bien, elle, qu’ils faisaient obéir, les yeux de Laurent, même quand on
ne voulait pas.
Une sorte de rage la soulevait, d’entendre les cris d’amour de cette
prostituée qui était «l’amie de Laurent», alors qu’elle, la mère, n’avait
jamais rien eu de lui que haine et mépris. Apprendre par celle-là tout ce
qu’elle n’avait pas su! «Il chantait donc toujours?... Il avait donc retrouvé sa
belle voix?...» Et la jalousie qui la tordait, en cette minute, l’empêchait
même de comprendre quelles révélations sur l’existence mystérieuse de son
fils ressortaient des propos incohérents de la créature de mauvaise vie.
Cependant, debout à côté des deux femmes à genoux, l’oncle Jacques,
lui, hochait lentement la tête.
*
**
On ne put le transporter qu’à l’aube. Sorti de son évanouissement, il
gémissait, prononçait des mots sans suite.
Un premier pansement, fait sur place par le médecin, avait arrêté le sang.
—Je crois qu’il s’en tirera, Madame... Attendons le chirurgien du chef-
lieu. Ma dépêche sera mise à la première heure...
Après les constatations des gendarmes, le cortège s’était mis en route,
Laurent à demi couché dans la voiture, les autres à pied.
Fifi suivait aussi, mais elle n’entra pas au château, chassée par le regard
des domestiques.
Quand Laurent fut allongé dans le lit qu’on avait en hâte improvisé dans
un coin du petit salon, il ne tarda pas à recouvrer tout à fait ses sens; et ses
premières paroles furent une série d’injures et de menaces épouvantables. Il
continuait le rythme de la rixe.
Ayant enfin compris, reconnu les lieux et les gens, il fit un geste brusque
pour se relever. Toutes les mains l’avaient ensemble recouché.
—Laurent!... sanglota Mᵐᵉ de Bonnevie, c’est moi, ta maman... Tu es
blessé, mon chéri!... Tu veux bien que je te soigne, dis?...
Il la toisa d’un regard tel qu’elle recula. L’abbé Lost s’était approché.
—Laurent!... Tu me reconnais bien, n’est-ce pas?...
—F...-moi la paix, tous!... vociféra-t-il en essayant des bonds sous les
mains qui le maintenaient. Ce n’est pas vous tous que je veux! C’est Fifi
que je veux! Où est-elle, la charogne?... Pourquoi n’est-elle pas là?... Je la
veux, vous entendez?... Je ne veux qu’elle! Elle toute seule!...
Et comme, frappée à mort, se laissant tomber assise sur une chaise, la
mère songea, les dents serrées: «Il l’aime!»
—Allez chercher cette fille!... ordonna le médecin. Il va se faire mourir,
s’il continue à s’agiter!
Ce fut silencieusement et comme écrasée de honte qu’elle entra dans ce
château, dans ce salon familial, elle, la fille du ruisseau, que la présence du
prêtre obligeait à courber la tête. Elle s’était rajustée de son mieux, avait
tordu ses cheveux teints, lourdement, sur sa nuque. Et sa robe décolletée et
mouillée de vin et de sang, son parfum vicieux, son fard, scandalisaient les
fauteuils de tapisserie criarde, ouvrage lent des heures provinciales, exécuté
par des mains dévotes.
—C’est toi, Fifi?...
Presque bas, elle répondit:
—C’est moi, Laurent.
—Viens ici. Où étais-tu, chameau?
Il esquissa le geste de la gifle. Puis, comme elle s’agenouillait à son
chevet, il dit:
—Donne-moi à boire!...
Et ce fut elle, désormais, elle seule qui le soigna.
Il y eut une visite de la police, en vue d’un interrogatoire. Mais comme
le blessé, hurlant, éclatait en injures, le médecin s’interposa:
—Vous reviendrez plus tard...
Ce fut enfin le chirurgien, vers quatre heures du soir.
Dans la salle à manger, tous attendaient, glacés. Fifi seule dut rester avec
les deux docteurs, Laurent l’ayant exigé.
—L’opération n’est pas possible, dit le chirurgien en sortant du petit
salon. Mon collègue vous expliquera. Ma présence n’est plus utile.
A Jacques de Bonnevie et à l’abbé, qui le reconduisaient, il confia,
baissant la voix:
—Il est perdu. Il n’en a plus que pour quelques heures...
Cependant, Mᵐᵉ Carmin, assise à l’écart dans la salle à manger,
repoussée là par les yeux de son fils, semblait plongée dans des réflexions
obscures. Devinait-elle, avec son instinct de mère, ce que le chirurgien
venait d’apprendre aux autres? L’heure du dernier déchirement approchait,
après toutes les tortures de sa vie crucifiée. Laurent allait mourir, mourir
sans lui avoir pardonné, sans l’avoir jamais aimée. Incapable d’aimer? Non,
puisque cette fille était près de lui.
Comme le tuteur et l’abbé revenaient lentement, se dirigeant vers elle
avec un visage qui cherchait comment lui dire la vérité:
—Je sais... murmura-t-elle simplement.
Ils furent effrayés de son calme.
L’abbé commençait:
—Il faut que j’essaie... le pauvre enfant!... Que j’essaie de le confesser...
Mᵐᵉ de Bonnevie l’interrompit.
—Attendez un instant, monsieur l’abbé.
Surpris, ils la suivirent. Elle entra dans le petit salon; et, sans oser
s’approcher du lit, distante et solennelle:
—Ecoute, Laurent! Je veux que tu comprennes enfin quelle tendresse
j’ai pour toi. Puisque tu aimes tant ta compagne...
Elle ravala péniblement le sanglot de son amour maternel et de son
orgueil d’honnête femme, à jamais humiliés.
—Puisque tu aimes tant ta compagne, eh bien! moi, ta mère, je te donne
mon consentement. Cela peut se faire ici, tout de suite, étant donné ton
état... Voilà! Epouse-la, Laurent! Et je l’aimerai bien à cause de toi.
Elle était plus pâle que le mourant. Les yeux fermés, appuyée au mur,
elle attendit le mot qu’il allait dire; le mot qu’il ne pouvait pas ne pas dire
pour reconnaître le sacrifice suprême qu’elle lui faisait.
La fille, à genoux, les mains sur les yeux, s’était mise à pleurer.
Laurent avait tourné brusquement la tête. Il regarda sa mère. Du fond des
mystères de la mémoire, du fond de son enfance déjà lointaine,
dédaigneusement, impérialement, sur le ton même qu’avait eu jadis l’oncle
Jacques, lors de la scène au pavillon:
—Un Carmine Buonavita, dit-il, n’épouse pas une catin!
*
**
Il mourut au crépuscule, après une agonie violente comme toute sa
courte existence.
Enfin calme et pour toujours, visage admirable sculpté par la mort, front
étrange de faune, mains croisées sur un chapelet ironique, on eût dit qu’il
allait, d’un instant à l’autre, se redresser pour quelque flot d’insultes, pour
quelque geste d’énergumène.
A sa droite et à sa gauche, deux bougies brûlaient. Sourdement, les
sanglots de la mère et de la maîtresse rythmaient le parfait silence du soir.
Et comme, debout au pied du lit, l’abbé Lost, consterné, murmurait des
prières pour ce mort qu’il n’avait pas pu confesser, Jacques de Bonnevie se
pencha vers son oreille:
—J’espère bien, prononça-t-il, que, sur sa tombe, on écrira la vérité.
Le prêtre s’était retourné, surpris. A voix basse, l’historien prononça
lentement, les yeux fixés sur le cadavre:
—Lorenzo Carmine Buonavita, dernier du nom, chef de Grande
Compagnie.

FIN
TABLE DES CHAPITRES
Pages
I. — La rencontre dans le parc 5
II. — Apprivoisement 19
III. — La belle découverte 35
IV. — A boire! 45
V. — Angoisses 55
VI. — L’épouvante 67
VII. — Un frisson dans la nuit 81
VIII. — Une lettre 91
IX. — Mater dolorosa 103
X. — Lorenzo 119
XI. — Le maître 135
XII. — Le scandale 151
XIII. — Des jours 173
XIV. — La Grande Compagnie 199
XV. — Dernier du nom 219

095-1-21.—Imp. Henry Maillet, 3, rue de Châtillon, Paris.

Pour paraître dans la série


de volumes à 3 fr. 50
Jehan D’IVRAY LA ROSE DU FAYOUM.
André LES CENTAURES (Nouvelle édition).
LICHTENBERGER
Jeanne LANDRE LE DÉBARDEUR LETTRÉ.
MIDSHIP “VENT DEBOUT”. (Préface de Claude
Farrère.)

Dernières nouveautés littéraires parues


dans la
Collection des “Œuvres Inédites”
Chaque volume: 1 fr. 50
Pierre MILLE HISTOIRES EXOTIQUES ET
MERVEILLEUSES.
Charles FOLEŸ FIANÇAILLES TRAGIQUES.
Lucie DELARUE-MARDRUS LES TROIS LYS.
Jeanne LANDRE UN AUTEUR FOLICHON.
RACHILDE LA MAISON VIERGE.
J.-H. ROSNY Ainé, de LA COMTESSE GHISLAINE.
l’Académie Goncourt
Pierre VÉBER LA JOLIE MADAME LIVRAN.
Marcel BERGER LA DERNIÈRE CROISADE.
Gustave GUICHES LE PETIT LANCRIT.
Maurice LEVEL LE CRIME.
Alfred MACHARD UN MILLION DANS UNE MAIN
D’ENFANT.

Imp. Henry Maillet, 3, rue de Châtillon, Paris.


*** END OF THE PROJECT GUTENBERG EBOOK L'APPARITION :
ROMAN ***

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.

You might also like