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A country girl celebrates the Prairie and why she calls it home in this beautifully illustrated children's book about a child's connection to the land.
In 1852 on the Oregon Trail, twelve-year-old Retta keeps her family safe from prairie raiders and a band of Sioux as they spend a few days away from the wagon train during her mother's illness.
From under the curving top of a canvas-covered "prairie schooner" a boy of about fifteen leaned out, his eyes straining intently across the brown, level expanse of the prairies. "Father," he called, with a note of anxiety in his voice, "look back there to the northeast! What is that against the horizon? It looks like a cloud of dust or smoke." In a second prairie schooner, just ahead of the one the boy was driving, a man with a brown, bearded face looked out hastily, then continued to scan the horizon with anxious gaze. Beside him in the wagon sat a blue-eyed, comely woman with traces of care in her face. As the boy's voice reached her she started, then leaned out of the wagon, her startled gaze sweeping the lonely untrodden plains over which they were traveling. Inside the wagon under the canvas cover a boy of nine, two little girls of seven and twelve, a curly-headed little girl of five, and a baby boy of two years, lay on the rolled-up bedding sleeping heavily. The time was midsummer, 1856, and the family of Joshua Peniman, crossing the plains to the Territory of Nebraska, which had recently been organized, were traveling over the uninhabited prairies of western Iowa. "Does thee think it could be Indians, Joshua?" asked Hannah Peniman, her face growing white as she viewed the cloud of dust which appeared momentarily to be coming nearer. "I can't tell—-I can't see yet," answered her husband, turning anxious eyes from the musket he was hastily loading toward the cloud of dust. "But whatever it is, it is coming this way. It might be a herd of elk or buffalo, but anyway, we must be prepared. Get inside, Hannah, and thee and the little ones keep well under cover." In the other wagon two younger boys had joined the lad who was driving. On the seat beside him now sat a merry-faced, brown-eyed lad of fourteen, and leaning on their shoulders peering out between them was a boy of twelve, the twin of the twelve-year-old girl in the other wagon, with red hair, laughing blue eyes, and a round, freckled face. Sam was the mischief of the family, and was generally larking and laughing, but now his face looked rather pale beneath its coat of tan and freckles, and the eyes which he fastened on the horizon had in them an expression of terror. "Do you suppose it's Indians, Joe?" he whispered huskily. "Did you hear what that man told Father at Fort Dodge the other day? He said that Indians had set on an emigrant train near Fontanelle and murdered the whole party."
Prairie Princess is a love story about an exotically beautiful and dynamic Okashee Indian Princess named Princess Dawn. She is the daughter of Red Horse, the tribal Chieftain and her French mother, Elena Boudreau. Elena has named her Dawn because of the radiant beauty she possesses. Princess Dawn falls in love with a Scotch-Irish horse-trainer, Buckley Trimble, from Windfall, Indiana, who is training horses for the World Famous, "777 Wild West Show and Rodeo" which is headquartered near Ponca City, Oklahoma. They marry not long after meeting at the corral where the Princess begins helping Buckley to tame the mustangs that have been rounded up from the Prairie. One morning she tells Buckley, "Buckley Trimble, we're going to get married! First in the Okashee Tradition, then we'll go into Ponca City and do it the way you palefaces do it!" The story takes place in 1905, while Oklahoma is still a territory. Oil, wealth, horses, politics, love and the lust of other men for the gorgeous Princess complicate their life as they strive to adjust to a new way of life on the Prairie.
In this “delightful mash-up of Little House on the Prairie and The Spiderwick Chronicles” (SLJ), experience life on the prairie—with one fantastical twist! Louisa Brody’s life on the Colorado prairie is not at all what she expected. Her dear Pa, accused of thievery, is locked thirty miles away in jail. She’s living with the awful Smirches, her closest neighbors and the very family that accused her Pa of the horrendous crime. And now she’s discovered one very cantankerous—and magical—secret beneath the hazel grove. With her life flipped upside-down, it’s up to Louisa, her sassy friend Jessamine, and that cranky secret to save Pa from a guilty verdict. Ten bold illustrations from Erwin Madrid accompany seasoned storyteller Melissa Wiley’s vibrant and enchanting tale of life on the prairie—with one magical twist.
Pippa isn't your usual princess. She prefers petri dishes to perfecting her curtseying. And when she realizes that she doesn't like peas, she gets a bright idea that consumes her and almost the whole kingdom.
For Katie Matthews, life held no promise of true happiness. Life on the prairie was filled with hard labor, a brutal father, and the knowledge she would need to marry a man incapable of truly loving a woman. Men didn't have time to dote on women-so Katie's father told her. To Katie, it seemed life would forever remain mundane and disappointing-until the day Stover Steele bought her father's south acreage. Handsome, rugged, and fiercely protective of four orphaned sisters, Stover Steele seemed to have stepped from the pages of some romantic novel. Yet his heroic character and alluring charm only served to remind Katie of what she would never have: true love and happiness the likes found only in fairytales. Furthermore, evil seemed to lurk in the shadows, threatening Katie's brightness and hope, and even her life! Would Katie Matthews fall prey to disappointment, heartache, and harm? Or could she win the attentions of the handsome Stover Steele long enough to be rescued?
In the late 2000s, the Walt Disney Company expanded, rebranded, and recast itself around “woke,” empowered entertainment. This new era revitalized its princess franchise, seeking to elevate its female characters into heroes who save the day. Recasting the Disney Princess in an Era of New Media and Social Movements analyzes the way that the Walt Disney Company has co-opted contemporary social discourse, incorporating how audiences interpret their world through new media and activism into the company’s branding initiatives, programming, and films. The contributors in this collection study the company’s most iconic franchise, the Disney princesses, to evaluate how the company has addressed the patriarchy its own legacy cemented. Recasting the Disney Princess outlines how the current Disney era reflects changes in a global society where audiences are empowered by new media and social justice movements.
-Nani learns that there is more to being a princess than fine clothes when a real Hawaiian princess comes to save the town of Hilo from Mauna Loa's volcanic lava flow. Based on the historical events of the 1880-1881 eruption of Mauna Loa on the Island of Hawai'i---