SAFER ANIMAL HANDLING AND PHYSICAL RESTRAINT
Te reasons to handle or restrain individual animals include physical examination; prophylactic, medical, or surgical treatments; grooming; training; recreation; and companionship. Te single action that veterinary medical personnel do for each and every patient is the application of handling techniques.
HANDLING AND ANIMAL WELFARE
Te American Veterinary Medical Association has defned animal welfare as when an animal is healthy, comfortable, well nourished, safe, able to express innate behavior, and not sufering from unpleasant states such as pain, fear, and distress. Te Five Basic Freedoms of Domesticated Animals are an international guide for attaining proper animal welfare (Table 1.1).
THE MORE EFFECTIVE HANDLER: THE ART OF FIRM KINDNESS
Proper animal handling for husbandry, treatment, and safety is quiet, methodical, and should leave the animal easier to handle the next time. Guidelines for physical restraint of animals are contained in the American Veterinary Medical Association’s position statement on the APhysical Restraint of Animals. Te essentials of the AVMA’s position statement are listed in Table 1.2
AFFECTION FOR THE ANIMALS
A good animal handler has to like the type of animal that will be handled. Using food rewards, petting, scratching, grooming, or verbal praises are benefcial under the correct circumstances.
PROPER ATTITUDE
Good animal handlers are calm, deliberate, patient, organized, and determined and they attempt to prepare the animal to better tolerate future handling experiences.
• Calm, Deliberate, and Patient: Extroverted behavior, i.e., direct stares, exaggerated facial expressions, frequent hand and arm movements, and loud or spiking speech patterns, can attract the attention of humans, but these mannerisms do not gain or maintain trust from animals. Animal handlers should move and act calmly, deliberately, and patiently.
Table 1.1 Five Basic Needs (Freedoms) of Domesticated Animals
• A suitable environment
• A suitable diet
• The ability to exhibit normal behavior
• The need for an animal to be housed with or apart from other animals
• Protection from pain, suffering, injury, and disease
Table 1.2 Essentials of Proper Animal Restraint
• The least restraint required to allow the procedure(s) to be performed properly
• Protection of both the animal and personnel from harm
• To plan, formulate, and communicate restraint prior to its application
• The use chemical restraint when physical restraint presents excessive risk of injury
• Organized Approach: Being organized and having a plan before handling or restraining animals is important for success for each handling event and all future handling events with the animals handled.
• Determination: Determination is an essential quality of a good handler. A handler must be confdent and determined that the plan to handle or restrain an animal will be successful.
• Controlled Release: Te release of a restrained animal must be as quiet and calm as possible, and it must be under control of the handler, not the animal. Each handling, and especially restraint experience, is a lesson learned by the animal, and their release is most remembered.
ALLOCATION OF SUFFICIENT TIME: POWER OF PATIENCE
Sufcient time to observe the animal or animals to be handled is important in determining the best approach to handling and to allow the animal or animals to adapt to handler presence.
• Disadvantages of Being in a Rush: Trying to rush proper handling leads to increased risk of injuries or excessive procedure time because of animals being stressed and scared.
• More Time for Special Cases: Longer times need to be allocated for certain animals, particularly for handling young, elderly, sick, or newly acquired animals.
USE OF VOICE, TOUCH, AND BODY LANGUAGE
Restraint begins with the handler’s voice or body language.
• Voice: Animals like to hear a handler’s voice if it is soothing and has rhythmic tones.
• Body Language: Animals use body language to a greater extent than any other means of communication.
• Lowered Posture: Handlers greeting small animals are better received if the handler lowers his posture.
• Avoiding a Direct Stare: A glancing gaze or indirect stare by another animal or a handler is less threatening that a direct stare. Staring particularly at an animal’s eyes is dominance-challenging to carnivores.
• Touch: Touch is used last but can readily convey handler confidence and intentions to an animal being handled. Animals tolerate touch on the shoulders more easily than touch around the more vulnerable areas such as the eyes, ears, throat, belly, or legs.
ALWAYS ON GUARD: SAFETY FIRST
Handlers must be constantly aware of the risks of injury to themselves, other people, or the animal being handled.
• Individual Animal Reactions Vary: Factors which afect an individual animal’s reactions to handling are familial tendencies; prior handling and training; trust, or the lack of it, in the handler; and stressful events preceding or during the handling. As a result, the assumption that all domestic species or animals within a species are the same can lead to serious injury.
• Overconfdent and Ill Prepared: Most injuries from animals are caused by the handler being overconfdent and undercompetent. Animal handlers must always position themselves and take other precautions to eliminate or minimize the chance of injury to all involved.
• Special Risks to Veterinary Staf: Veterinary staf are at a relatively high risk of injury. Many animals they must treat have not been socialized to humans or previously han dled. In addition, sick or injured animals may act atypically because of pain or fear and ofen hide their disease or injury until a handler disturbs them.
DISTRACTION VERSUS PAIN FOR RESTRAINT
Distractions are the basis for most humane and efective animal handling techniques and are not painful when correctly used.
• Pain: Pain is a message sent to the brain that body tissue is being injured. Painful procedures leave a physical or psychological mark on the animal.
• Distractions: A distraction is applying a nonpainful stimulus that supersedes competing stimuli. Petting is the simplest form of distraction for handling.
RESPECT FOR HANDLERS
Animals that are either fearful of handlers or have no respect for humans are the most dangerous to handle.
• Gaining Respect: Leaders of animals establish their leadership by the control of movement and access to resources. Efective handlers do the same. Respect is gained by their knowledge that either pleasure (praise, food treats) or discomfort (not pain) will consistently occur with certain behaviors.
• Avoiding Fear: Fear can result from the expectation of pain. If fear is from instinct, it can be moderated. If it is from having experienced pain, it is ofen permanent.
ADAPTATION TO SPECIAL CIRCUMSTANCES
Animal handling is not a set recipe that fts all situations. An efective animal handler must adapt techniques to the species, the surroundings, and the individual.
• Surroundings: Animals may act diferently in diferent surroundings due to noise, lighting, odors, visible distractions, and associations of actual or similar surroundings with past experiences.
• Current Attitude and Condition: Each animal handled should frst be observed to assess its current attitude and physical condition.
• Need for Special Handling: Young, elderly, pregnant, and sick animals always need special handling.
APPROPRIATE ATTIRE, GROOMING, AND PERSONAL HABITS
Proper handler attire for the type of animal handling to be done is important for handlers and animals. Inappropriate attire can be dangerous, such as dandling jewelry or bulky rings (Figure 1.1).
• Clothing:
• Coat and Footwear: Clothing should be reasonably clean and untorn. A clinical or laboratory coat and water-impermeable shoes are appropriate for handling dogs, cats, and other small animals (Figure 1.2). Long-sleeved coats can aid in protecting handlers from cat scratches.
• Appropriate Time: Attire for animal handling should be worn only when handling or restraining animals and then changed to reduce the risk of transmitting disease among other animals and to humans.
• Fingernails: Fingernails should not extend beyond the end of the fnger to reduce the risk of injury to other handlers or to animals being handled and because longer fngernails are more capable of entrapping disease agents.
• ID Badges: If ID badges are needed, they should either be attached to the clothing or worn using a safety, breakaway lanyard around the neck.
• Cuts and Abrasions: Handler cuts or abrasions should be treated and covered before handling animals.
• Food and Tobacco Products: Smoking or consuming food or drink while working with animals or in animal handling areas should be strictly avoided due to the danger of introducing infectious organisms to the handler’s mouth.
Figure 1.1 Inappropriate small animal handling attire.
Figure 1.2 Appropriate small animal handling attire.
• Personal Protective Equipment:
• Waterproof Apron: Waterproof aprons should be worn when bathing animals.
• Eye Protection: Safety glasses or goggles should be worn if handling animals whose nails or beaks are being trimmed, especially when using a high-speed, handheld electric grinder (Dremel).
• Face Protection: Face masks or shields must be worn when handling birds with pointed beaks or assisting with teeth cleaning or other dental procedures.
• Gloves: Latex rubber or nitrile gloves should be worn if hands have cuts or cracks and should always be worn when handling small mammals other than dogs and cats to protect from infectious diseases and allergens.
CONDITIONS FOR HANDLING AND RESTRAINT
Outcomes of handling and restraint of animals can be affected by health of the animal, the time of day, lighting, ambient temperature, setting and facilities, personnel, and duration.
PREHANDLING CONSIDERATIONS
An unhealthy animal can have an altered temperament requiring special handling techniques or elevated risk of injury from being handled due to illness or previous injury. Before handling any animal, it and its surroundings should be visually inspected ( Table 1.3).
• Signs of Injury or Disease: Te animal should be observed for signs of possible injury or disease, which could alter the means appropriate for handling the animal. Knowledge of the animal’s normal posture, movement, and activities, including how and how ofen it lies down, is important.
• Vocalizations: Te animals’ normal vocalizations should also be known.
• Appetite, Tirst, Eliminations: Te area of containment (crate, cage, run, etc.) should be examined for urine and feces. Handlers should be familiar with the normal amount, consistency, odor, and color of feces for the type of animal to be handled. If food or water has been present, evidence of whether the animal has been eating or drinking should be investigated
• Animal Attitude: Te animal’s attitude should be observed for signs of depression or aggressiveness.
• Mobility: Its ambulation and/or other movements should be screened for lameness or other impaired movements.
• Respirations: Te respiration rate and depth should be monitored. Impaired respiration can make any handling method particularly dangerous to the animal.
Table 1.3 Prehandling Evaluation of the Animal and Its Surroundings
• Check for signs of injury or disease.
• Be alert for abnormal vocalizations.
• Ascertain current appetite, thirst, and quantity and appearance of eliminations.
• Observe for signs of abnormal attitude.
• Assess signs of mobility.
• Watch for abnormal depth or rate of respirations.
PRERESTRAINT CONSIDERATIONS
Restraint, if needed, must be applied efectively on frst attempt, or the animal will learn to escape the restraint in the future.
• Formulate a Plan
• Check Equipment: A plan needs to frst include a check of equipment.
• Capable Assistance: If others will assist, everyone must be physically capable and trained to handle animals, and they must know the current plan thoroughly.
• Determine What Safety Precautions Are Appropriate
• Contingency Plans: Although a plan for restraint should be designed to be successful on frst attempt, a contingency plan should be formulated in case circumstances are unexpected and inappropriate for the initial plan.
• Chemical Restraint Option: Chemical restraint should be ready for some animals in advance of attempted physical restraint so that if chemical restraint becomes necessary, it can be administered without delay.
EFFECTS ON ANIMALS
Past handling experiences can be an asset or impediment to current handling success.
• Current and Future Efects: To yield the best lesson that might be learned by the animal, a handler should use the minimum needed restraint, maintain a calm environment, and carefully manage the fnal release to be perceived that the release was the handler’s choice, not the animal’s.
• Impact of Past Experiences: If adverse efects occur when handling or restraining an animal, the animal will associate events, people, and objects that immediately preceded the handling and occurred during the animal’s handling. Tey may respond with signs of stress or fear when exposed to similar handler clothing, locations (cage, pens, etc.), and other sounds on reexposure.
SURROUNDINGS AND CONDITIONS
Te time of day or amount of light can afect animal handling.
• Ambient Lighting: Nocturnal (night active) animals are more docile when handled in bright light. Diurnal (daytime active) animals are more docile when handled in subdued light.
• Reduce Risk of Injury or Escape: When handling small animals, room doors and windows should be closed and all countertops cleared.
PERSONNEL
All persons who handle animals should be willing, knowledgeable, capable, and able to assist in proper handling and restraint.
• Qualifed Assistants: It is the primary handler’s responsibility to make sure that any assistant is knowledgeable in proper animal handling and is fully aware of the handling or restraint plan. An assistant should also be behaviorally mature and physically strong enough to carry out the needed assistance.
• Unqualifed Assistant Liability: When veterinarians or veterinary technicians are the primary handlers, animal owners should not assist with handling and restraint of their own animal. Otherwise, the veterinary personnel are liable for resulting owner injury.
DURATION
Te duration of animal handling or restraint should be as short as possible to complete the task. Longer durations cause unnecessary stress to the animal and exhausts their patience to tolerate the handling. Prehandling preparation is absolutely essential to minimize the dura tion of handling and restraint.
Another random document with no related content on Scribd:
Cecil’s Tryst.
The Clyffards of Clyffe. The Foster Brothers. Found Dead.
The Best of Husbands. Walter’s Word. Halves. Fallen Fortunes. Humorous Stories. £200 Reward.
A Marine Residence. Mirk Abbey. By Proxy. Under One Roof. High Spirits. Carlyon’s Year. From Exile. For Cash Only. Kit.
The Canon’s Ward.
The Talk of the Town. Holiday Tasks. A Perfect Treasure. What He Cost Her.
A Confidential Agent. Glow-worm Tales. The Burnt Million. Sunny Stories.
Lost Sir Massingberd. A Woman’s Vengeance. The Family Scapegrace.
Gwendoline’s Harvest.
Like Father, Like Son.
Married Beneath Him.
Not Wooed, but Won.
Less Black than We’re Painted.
Some Private Views.
A Grape from a Thorn.
The Mystery of Mirbridge.
The Word and the Will.
A Prince of the Blood.
A Trying Patient.
By CHARLES READE.
It is Never Too Late to Mend. Christie Johnstone.
The Double Marriage. Put Yourself in His Place.
Love Me Little, Love Me Long.
The Cloister and the Hearth.
The Course of True Love.
The Jilt.
The Autobiography of a Thief.
A Terrible Temptation.
Foul Play.
The Wandering Heir.
Hard Cash.
Singleheart and Doubleface.
Good Stories of Man and other Animals.
Peg Woffington.
Griffith Gaunt.
A Perilous Secret.
A
Simpleton. Readiana. A Woman-Hater
By Mrs. J. H. RIDDELL.
Weird Stories.
Fairy Water.
Her Mother’s Darling.
The Prince of Wales’s Garden Party.
The Uninhabited House.
The Mystery in Palace Gardens. The Nun’s Curse.
Idle Tales.
Barbara Dering.
By AMELIE RIVES.
By F. W. ROBINSON.
Women are Strange.
The Hands of Justice. The Woman in the Dark.
By
JAMES RUNCIMAN.
Skippers and Shellbacks.
Grace Balmaign’s Sweetheart. Schools and Scholars.
By W. CLARK RUSSELL.
Round the Galley Fire. On the Fo’k’sle Head. In the Middle Watch. A Voyage to the Cape.
A Book for the Hammock.
The Mystery of the ‘Ocean Star.’
The Romance of Jenny Harlowe.
An Ocean Tragedy.
My Shipmate Louise.
Alone on Wide Wide Sea.
Good Ship ‘Mohock.’
The Phantom Death.
Is He the Man?
Heart of Oak.
The Convict Ship.
The Tale of the Ten.
The Last Entry.
A
By DORA RUSSELL.
Country Sweetheart.
By GEORGE AUGUSTUS SALA.
Gaslight and Daylight.
By GEORGE R. SIMS.
The Ring o’ Bells.
Mary Jane’s Memoirs.
Mary Jane Married.
Tales of To-day.
Dramas of Life.
Tinkletop’s Crime.
My Two Wives. Zeph.
Memoirs of a Landlady. Scenes from the Show.
The 10 Commandments. Dagonet Abroad. Rogues and Vagabonds.
By ARTHUR SKETCHLEY.
A Match in the Dark.
By HAWLEY SMART.
Without Love or Licence. Beatrice and Benedick. The Master of Rathkelly The Plunger. Long Odds.
By T. W. SPEIGHT.
The Mysteries of Heron Dyke. The Golden Hoop. Hoodwinked. By Devious Ways. Back to Life. The Loudwater Tragedy. Burgo’s Romance. Quittance in Full. A Husband from the Sea.
By ALAN ST. AUBYN.
A Fellow of Trinity. The Junior Dean. Master of St. Benedict’s. To His Own Master. Orchard Damerel. In the Face of the World.
The Tremlett Diamonds.
By R. A. STERNDALE.
The Afghan Knife.
By
R. LOUIS STEVENSON.
New Arabian Nights.
By
BERTHA THOMAS.
Cressida. The Violin-Player.
By WALTER THORNBURY.
Tales for the Marines. Old Stories Retold.
By
T. ADOLPHUS TROLLOPE.
Diamond Cut Diamond.
By F. ELEANOR TROLLOPE.
Like Ships upon the Sea. Anne Furness. Mabel’s Progress.
By
Frau Frohmann.
Marion Fay. Kept in the Dark.
ANTHONY TROLLOPE.
John Caldigate. The Way We Live Now The Land-Leaguers. The American Senator Mr. Scarborough’s Family.
Golden Lion of Granpere.
By J. T. TROWBRIDGE.
Farnell’s Folly
By IVAN TURGENIEFF, &c.
Stories from Foreign Novelists.
By MARK TWAIN.
A Pleasure Trip on the Continent.
The Gilded Age. Huckleberry Finn.
Mark Twain’s Sketches.
Tom Sawyer
A Tramp Abroad.
Stolen White Elephant.
Life on the Mississippi.
The Prince and the Pauper.
A Yankee at the Court of King Arthur.
The £1,000,000 Bank-Note.
By C. C. FRASER-TYTLER.
Mistress Judith.
By SARAH TYTLER.
The Bride’s Pass.
Buried Diamonds.
St. Mungo’s City.
Lady Bell.
Noblesse Oblige. Disappeared.
The Huguenot Family.
The Blackhall Ghosts. What She Came Through. Beauty and the Beast. Citoyenne Jaqueline.
By
ALLEN UPWARD.
The Queen against Owen. Prince of Balkistan. ‘God Save the Queen!’
By AARON
WATSON
The Marquis of Carabas.
and
LILLIAS WASSERMANN.
By WILLIAM WESTALL.
Trust-Money.
By Mrs. F. H. WILLIAMSON. A Child Widow.
By J. S. WINTER.
Cavalry Life. Regimental Legends.
By H. F. WOOD.
The Passenger from Scotland Yard. The Englishman of the Rue Cain.
By CELIA
PARKER
WOOLLEY. Rachel Armstrong; or, Love and Theology.
By
EDMUND YATES.
The Forlorn Hope. Castaway
By I. ZANGWILL.
Ghetto Tragedies.
OGDEN, SMALE AND PETTY, LIMITED, PRINTERS, GREAT SAFFRON HILL, E.C.
Transcriber’s Note:
Obvious printing errors, such as backwards, upside down, or partially printed letters and punctuation, were corrected. Final stops missing at the end of abbreviations were added.
The following were changed:
“Boleyne” to “Boleyn” “half-Roxburgbe” to “half-Roxburghe”
Added “By” to “By ROB. BUCHANAN & HY. MURRAY.”
Added “of” to “Adventures of Tom Sawyer.”
Added “the” to “What will the World Say?”
*** END OF THE PROJECT GUTENBERG EBOOK AN ALPHABETICAL CATALOGUE OF BOOKS IN FICTION AND GENERAL LITERATURE, SEPT. 1899 ***
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
