By Christopher Pike
Each younger woman goals that she's secretly a princess of a distant land and that sometime her precise mom and dad will come to say her and usher her right into a lifetime of luxurious, an fantastic lifestyles the place she could also have magical powers and be swept off her ft via a good-looking prince.
Teenager Ali Warner has cause to hold to this sort of delusion. Her mom died in a automobile coincidence a 12 months in the past. Her father, a trucker decided to paintings via his grief, hasn't said Ali's burgeoning determine or advanced feelings. Her neighbors nonetheless aren't definite the right way to speak about her mother's dying. And the Southern California woodland that has continuously been Ali's shelter is ready to be ravaged through logging.
Ali is set to find that she is a princess-a fairy princess. And that she has to save lots of the area. For real.
To declare her fairy powers, Ali needs to conquer seven in all likelihood deadly demanding situations. Then she needs to scale a mountain and confront the King of the Dwarves and the King of the Elves, whose armies are poised to invade Earth.
With her bemused twenty first century neighbors, a sly leprechaun, and a very dependable, super gruesome, troll through her part, Ali starts the main momentous trip of her younger lifestyles, a trip in which she's going to study a lot approximately herself and the previous she proposal she knew. she is going to triumph over hearth and water, earth and air, or even time itself. she's going to be either betrayer and betrayed, will see dying shut to hand, and should grab victory from the jaws of defeat.
Ali Warner is Alosha. Welcome to her global.
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Additional resources for Alosha (Alosha Trilogy, Book 1)
As a key member of a group of late nineteenth-century intellectuals, nicknamed ‘the Souls’*, Violet talked about art and berated the philistinism of the Victorian age. She was also much admired for her own amateur gifts, with several of her busts and her silver-point and pencil portraits exhibited in London galleries. A reputation for being different, even mildly rebellious, had attached itself to her. While Violet deferred to the formal duties of a Duke’s wife, she clearly preferred intimate suppers to grand dinners and court events.
1 Yet over the following days she would be feted by artists and critics as a black pearl, an ebony Venus, a jazz age vamp with the soul of an African goddess. Postcards of ‘La Baker’ went on sale, as did a range of Josephine dolls. Her shiny black hair and coffee-coloured skin, the source of so much abuse back home, were harnessed to the marketing of French beauty products: hair pomade for the glossing of Eton crops; walnut oil for the faking of summer tans. Her hard, supple body was celebrated as an icon of contemporary style – reflecting the glossy streamlined aesthetic of art deco and the gamine flair of the French garçonne.
They were written about by the same novelists and journalists, photographed for the same publications. But biography is essentially about the colour and detail of individual lives and in writing this book I’ve been fortunate to profit from the groundwork of many other fine biographers. To their research and knowledge I owe a profound debt. In the matter of language, the 1920s was a world away from our own politically conscious era. Young women were girls, blacks were often niggers, female actors were actresses, and even though this usage can grate on modern ears, I’ve opted to retain a flavour of it, for the sake of period accuracy.