Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

From the Diary ofAnne Frank to Anne of Green Gables, young women love to read stories about real girls who faced incredible challenges and shared indelible truths about the human spirit. Jan Cleere has compiled a wonderful collection of such stories, for a wide range of readers from ten-year-old girls to older readers fascinated by women’s history. Meet Laurette Lovell, born in 1869 with a severe leg deformity, who at age thirteen started on her path to be a renowned pottery artist and painter. Edith Bass, born in 1896, began wrangling mules before the age of nine, leading pack strings up and down the dangerous paths into the Grand Canyon. These two young women, and nine others, are profiled magnificently alongside historic photographs. Today’s readers love to read bold adventures. They’ll never forget these stories of real girls who conquered the West in their own style, spending most or all of their childhood in Arizona. Jan Cleere is a historical researcher and the author of More Than Petticoats: Remarkable Nevada Women, among other books. She lives in Oro Valley, Arizona.

Celebrates a young girl's transitions through birth, childhood, and young adulthood, with advice on remaining connected to loved ones and nature.

Girl of New Zealand presents a nuanced insight into the way violence and colonial attitudes shaped the representation of Māori women and girls. Michelle Erai examines more than thirty images of Māori women alongside the records of early missionaries and settlers in Aotearoa, as well as comments by archivists and librarians, to shed light on how race, gender, and sexuality have been ascribed to particular bodies. Viewed through Māori, feminist, queer, and film theories, Erai shows how images such as Girl of New Zealand (1793) and later images, cartoons, and travel advertising created and deployed a colonial optic. Girl of New Zealand reveals how the phantasm of the Māori woman has shown up in historical images, how such images shape our imagination, and how impossible it has become to maintain the delusion of the “innocent eye.” Erai argues that the process of ascribing race, gender, sexuality, and class to imagined bodies can itself be a kind of violence. In the wake of the Me Too movement and other feminist projects, Erai’s timely analysis speaks to the historical foundations of negative attitudes toward Indigenous Māori women in the eyes of colonial “others”—outsiders from elsewhere who reflected their own desires and fears in their representations of the Indigenous inhabitants of Aotearoa, New Zealand. Erai resurrects Māori women from objectification and locates them firmly within Māori whānau and communities.

An Appalachian girl, Arizona Houston Hughes, grows up to become a teacher who influences generations of schoolchildren.