Read Ebook {PDF EPUB} Rinkitink in ; ; The of Oz - Book 4 by L. Frank Baum The Lost Princess of Oz. The Lost Princess of Oz is the eleventh book in The Oz Series by L. Frank Baum. When mysteriously disappears, four search parties are sent out, one for each of Oz's four countries. Most of the book covers and the Wizard's efforts to find her. Meanwhile, Cayke the Cookie Chef discovers that her magic dishpan (on which she bakes her famous cookies) has been stolen. Along with the Frogman, they leave their mountain in to find the pan. The Lost Princess of Oz is preceded by Rinkitink in Oz, and followed by . This book has 96 pages in the PDF version, and was originally published in 1917. Download for ereaders (below donate buttons) Last week, Global Grey readers downloaded 65,000 ebooks - 9 people gave donations. I love creating these books and giving them for free, but I need some help to continue running the site. If you can, please make a small donation - any amount is appreciated. You can also support the site by buying one of the specially curated collections. Follow Global Grey on Facebook or Twitter. Excerpt from The Lost Princess of Oz. There could be no doubt of the fact: Princess Ozma, the lovely girl ruler of the Fairyland of Oz, was lost. She had completely disappeared. Not one of her subjects—not even her closest friends—knew what had become of her. It was Dorothy who first discovered it. Dorothy was a little Kansas girl who had come to the to live and had been given a delightful suite of rooms in Ozma's royal palace just because Ozma loved Dorothy and wanted her to live as near her as possible so the two girls might be much together. Dorothy was not the only girl from the outside world who had been welcomed to Oz and lived in the royal palace. There was another named Betsy Bobbin, whose adventures had led her to seek refuge with Ozma, and still another named , who had been invited, together with her faithful companion Cap'n Bill, to make her home in this wonderful fairyland. The three girls all had rooms in the palace and were great chums; but Dorothy was the dearest friend of their gracious Ruler and only she at any hour dared to seek Ozma in her royal apartments. For Dorothy had lived in Oz much longer than the other girls and had been made a Princess of the realm. Betsy was a year older than Dorothy and Trot was a year younger, yet the three were near enough of an age to become great playmates and to have nice times together. It was while the three were talking together one morning in Dorothy's room that Betsy proposed they make a journey into the Country, which was one of the four great countries of the Land of Oz ruled by Ozma. "I've never been there yet," said Betsy Bobbin, "but the once told me it is the prettiest country in all Oz." "I'd like to go, too," added Trot. "All right," said Dorothy. "I'll go and ask Ozma. Perhaps she will let us take the Sawhorse and the Red Wagon, which would be much nicer for us than having to walk all the way. This Land of Oz is a pretty big place when you get to all the edges of it." So she jumped up and went along the halls of the splendid palace until she came to the royal suite, which filled all the front of the second floor. In a little waiting room sat Ozma's maid, Jellia Jamb, who was busily sewing. "Is Ozma up yet?" inquired Dorothy. "I don't know, my dear," replied Jellia. "I haven't heard a word from her this morning. She hasn't even called for her bath or her breakfast, and it is far past her usual time for them." "That's strange!" exclaimed the little girl. "Yes," agreed the maid, "but of course no harm could have happened to her. No one can die or be killed in the Land of Oz, and Ozma is herself a powerful fairy, and she has no enemies so far as we know. Therefore I am not at all worried about her, though I must admit her silence is unusual." "Perhaps," said Dorothy thoughtfully, "she has overslept. Or she may be reading or working out some new sort of magic to do good to her people." "Any of these things may be true," replied Jellia Jamb, "so I haven't dared disturb our royal mistress. You, however, are a privileged character, Princess, and I am sure that Ozma wouldn't mind at all if you went in to see her." "Of course not," said Dorothy, and opening the door of the outer chamber, she went in. All was still here. She walked into another room, which was Ozma's boudoir, and then, pushing back a heavy drapery richly broidered with threads of pure gold, the girl entered the sleeping-room of the fairy Ruler of Oz. The bed of ivory and gold was vacant; the room was vacant; not a trace of Ozma was to be found. Very much surprised, yet still with no fear that anything had happened to her friend, Dorothy returned through the boudoir to the other rooms of the suite. She went into the music room, the library, the laboratory, the bath, the wardrobe, and even into the great throne room, which adjoined the royal suite, but in none of these places could she find Ozma. So she returned to the anteroom where she had left the maid, Jellia Jamb, and said: "She isn't in her rooms now, so she must have gone out." "I don't understand how she could do that without my seeing her," replied Jellia, "unless she made herself invisible." "She isn't there, anyhow," declared Dorothy. "Then let us go find her," suggested the maid, who appeared to be a little uneasy. So they went into the corridors, and there Dorothy almost stumbled over a queer girl who was dancing lightly along the passage. "Stop a minute, Scraps!" she called, "Have you seen Ozma this morning?" "Not I!" replied the queer girl, dancing nearer. "I lost both my eyes in a tussle with the Woozy last night, for the creature scraped 'em both off my face with his square paws. So I put the eyes in my pocket, and this morning Button-Bright led me to , who sewed 'em on again. So I've seen nothing at all today, except during the last five minutes. So of course I haven't seen Ozma." "Very well, Scraps," said Dorothy, looking curiously at the eyes, which were merely two round, black buttons sewed upon the girl's face. There were other things about Scraps that would have seemed curious to one seeing her for the first time. She was commonly called "the " because her body and limbs were made from a gay-colored patchwork quilt which had been cut into shape and stuffed with cotton. Her head was a round ball stuffed in the same manner and fastened to her shoulders. For hair, she had a mass of brown yarn, and to make a nose for her a part of the cloth had been pulled out into the shape of a knob and tied with a string to hold it in place. Her mouth had been carefully made by cutting a slit in the proper place and lining it with red silk, adding two rows of pearls for teeth and a bit of red flannel for a tongue. Literature / The Lost Princess Of Oz. The Lost Princess of Oz is the eleventh book in L. Frank Baum's series Land of Oz . Baum dedicated the book to his new granddaughter Ozma Baum, the child of his youngest son Kenneth Gage Baum. Trouble strikes in the palace of the as Dorothy discovers that Princess Ozma is nowhere to be found in her bed chamber, or anywhere else in the palace. On top of that, the Magic Picture, which enables one to see whatever they ask it to show, is also gone, as well as the Wizard's magical implements. And in Glinda's palace in southern Oz, the Book of Records which tells whatever is going on in the world by the second, has also been stolen. Glinda travels to the Emerald City, and search parties are organized to scour Oz for any sign of Ozma and the missing magic items. Dorothy's party, the largest of the four parties, travels into Winkie Country, encountering many perils and strange settlements along the way. Meanwhile, in a (at first) seemingly disconnected event in a remote corner of southern Winkie Country known as Yips Country, Cayke the Cookie Cook discovers that her magic, golden and jewel-encrusted dishpan is gone. Without it she's unable to cook her delicious cookies, and this devastates her. She entrusts the Frogman, an intelligent anthropomorphic frog mutated by a magic pond who is regarded as the wisest citizen and de facto leader of Yips Country, to help her find the missing dishpan, setting foot for the first time out of her country and into the vastness of Oz. Tottenhots. Tottenhots are a small, mischievous people who live along the border of the Winkie Country and the in the Land of Oz. Contents. Description. They are tiny and curiously formed. Their skins are dusky and their brilliant scarlet hair stands straight up like wires. They are bare except for the skins around their waists, and their necklaces, bracelets, and earrings. The Tottenhots live in a small village set among a stand of palm trees near a desert area where the Winkie plains end and the rougher Quadling region begins. Their houses are small black domes that look like upside-down kettles, with trap doors in their tops. Inside there is no furniture, but cushions are strewn about the floor. The Tottenhots sleep during the day and come out to play in the evenings. Their behavior can be rough, but also childish. Their total population may be only a hundred or so. History. Ojo, Dorothy, the Scarecrow, and the Patchwork Girl encountered the Tottenhots while on a journey. The playful creatures found that the Scarecrow and Patchwork Girl were light enough to toss around. Dorothy was so indignant at this treatment of her friends that she pushed and slapped the Tottenhots around while nipped at their bare legs. The Tottenhots left their play and retreated to their houses, some of them crying at Dorothy's treatment. An arrangement was negotiated, and the travelers slept in one of the Tottenhot domes while their hosts played outside. () Bilbil was briefly transformed into a Tottenhot by Glinda as one phase of his transformation back to Prince Bobo of Boboland. ( Rinkitink in Oz ) Background. Baum's Tottenhots are clearly caricatures of the Khoikhoi ethnic group of southern Africa, [1] which were long known in European and American popular culture as "Hottentots." This impression is accentuated by John R. Neill's pictures of them. Modern critics identify the depiction of the Tottenhots as one of the most blatant instances of racism to be found in Baum's books. [2] [3] This is re-enforced by the second reference to Tottenhots in the Oz books, in Rinkitink in Oz , Chapter 22, where they are identified as "a lower form of a man." [See: Bilbil.] In Patchwork Girl , Chapter 19, Baum refers to the Tottenhots as both "people" ("tiny and curiously formed, but still people") and as "imps." Elsewhere in his works Baums employs the term "imp" to refer to orders of being other than human, but here the term seems metaphoric. It was also typical of Baum's cultural frame and era: fantasist Winsor McCay, Baum's contemporary, refers to black Africans as "jungle imps" in his comics, and in his masterwork Little Nemo in Slumberland (published contemporaneously with many of the Oz books), a key supporting character is a black African tribal boy called Impie. In the 1990s, Books of Wonder published reprints of Patchwork and Rinkitink , which softened or eliminated the Hottentot references. Patchwork altered some text, e.g. changing the line "a dusky creature" to "a small creature," and eliminated a closeup portrait. However, the edition was advertised as a "facsimile" of the first edition, with no acknowledgement of the alteration. Rinkitink preserved the Hottentot text cameo, but eliminated the illustration of such a character from the line-up of evolving species, with a notice on the copyright page saying "One illustration has been omitted from this book in recognition of current sensibilities." Tottenhots also appear in the 1914 film The Patchwork Girl of Oz . Hal Roach and Harold Lloyd, soon to become screen legends in their own right, were among the Tottenhot extras. Curiously, Baum was not the first writer to employ the spoonerism "Tottenhot" for Hottentot. The same word occurs in Frank Lee Benedict's novel Miss Van Kortland (1875), and in Edward Sylvester Ellis's A Young Hero: or Fighting to Win (1888), where it refers to the Hottenhots who accompany a traveling circus. King Rinkitink. King Rinkitink is the ruler of the country that shares his name. He lives in a palace in the capital city of Gilgad. Description. He is a little man who is so fat that he is almost as broad as he is tall. He is bald, and his face is round and red like an apple. In personality he is very jovial, and his characteristic laugh can often be heard. His own people don't trust him to represent them publicly and try to keep him from traveling, so he often runs away to have adventures. He wears a loose silken robe of purple that falls in folds to his feet. Upon his head he often wears a cap of white velvet curiously worked with golden threads and having a circle of diamonds sewn around the band. Since he is "a trifle stout", Rinkitink prefers riding to walking, so for many years he traveled with a talking goat named Bilbil. History. After speaking harshly to his Lord High Chancellor, Rinkitink became sad and regretted having hurt the man's feelings. He locked himself in his rooms to read a parchment entitled "How to Be Good" and issued a decree that no one should bother him. Then Rinkitink escaped out his back door and boarded a boat with twenty rowers and traveled to Pingaree, an island which provided his own kingdom with many beautiful pearls. (Rinkitink in Oz) Many years later, he visited Oz again to help decorate the palace walls with famous scenes of history. He came riding a surly old goat, and contributed a painting. ( Lucky Bucky in Oz ) Identifying Book First Editions. Beware the Wizard of Oz books advertised elsewhere online as first editions! Many of these books are not actually the original printings of these books. Often this is an innocent mistake on the part of the seller, stemming from the fact that copyright dates are the only dates given on most Oz books published right up to recent times. As a result, people erroneously assume that the book is a first edition because only one date is given. The most surefire way to determine the printing history of an Oz book is to use The Book Collector’s Guide to L. Frank Baum, a comprehensive reference. Another good guide is Bibliographia Oziana put out by the International Wizard of Oz Club. I have attempted to describe some general rules of thumb below for a brief online reference. Cautionary Note: In this review I use the term ‘first edition’ to mean the earliest version of a book–i.e., the first printing of that particular book by the original publisher. These are the ones most sought after by collectors. (See Bibliographia Oziana p. 12 for more information–it can be confusing!). It is easier to determine what is NOT a first edition rather than what is. (Unfortunately, true first editions/first printings of most Oz books, especially the earliest ones, are somewhat unusual. Very few of the books in general family collections are true 1st editions.) 1) Most of the earliest Oz books by L Frank Baum were published by Reilly & Britton, which became Reilly & Lee in 1919. Check the publisher’s imprint on the spine or title page. Books with copyright dates before 1919, but published by Reilly & Lee, are actually later printings. The photo shows typical spine imprints for Reilly & Britton and Reilly & Lee. Reilly & Lee did publish first editions of some Oz books by other authors than Baum. See the list below for the original publishers of the first forty Oz books, by L. Frank Baum and subsequent authors. (Note: Unusual Canadian & British first editions not included.) 2) Unlike the other Oz books, the first edition of The Wonderful Wizard of Oz (the story basis for the MGM movie starring Judy Garland) was published by George M. Hill. There are hundreds of subsequent printings of this book. Despite early copyright dates, books titled “The Wonderful Wizard of Oz” are not first editions if they don’t have the Hill imprint at the base of the spine. The cover of the Hill first edition of The Wonderful Wizard of Oz is shown below. It should have 24 color plates inside (including the title page). Books titled “The Wizard of Oz”, “The New Wizard of Oz”, or “The Original Oz Book” are all later editions. 3) Most early Oz books were printed with color plates (inserted color illustrations) up until about 1935. Note that Oz books have a copyright date on the back of the title page, but not the actual printing date. So, if your Oz book has a pre-1936 copyright date, but has no color illustrations inside, it is a later printing. (The exception to this is the first edition/printing of , which was printed on different colored pages and never had actual color illustrations. If your Road to Oz is printed on all-white paperstock, it is also a later printing). Most first edition Oz books with color plates should have 12 of them (glued or “tipped” in along the inner margin). However, early printings of The Land of Oz, Dorothy & The Wizard of Oz, and had 16 color plates. Early printings of The Patchwork Girl of Oz and never had inserted color plates, but contain numerous full color illustrations. Conversely, just because your book has color plates doesn’t mean it’s a first edition. It just means it was printed before approximately 1935. Use the reference books given above, or take your book to a knowledgeable bookseller to tell for sure. 4) The so-called “white cover” Oz books, with bright white background cloth, were published mostly in the 1960’s and are not first editions! The photo below shows the different between an early version and 60’s white cover edition of . 5) Does your Oz book have a dust jacket? If so, check the last Oz title listed on the flap against its publication date in the list below. If that listed book was first published AFTER the copyright date of your book, sorry! Your book has to be a later printing. Think about it. Some books also have a list of Oz titles on the back of one of the front inside endpapers. Same principle applies for the most part. 6) Baum also wrote many non-Oz books, which are also quite collectible. For more information, see my related page: L Frank Baum Books and Pseudonyms. ************************************************************************************************* L. FRANK BAUM The Wizard of Oz–originally published as The Wonderful Wizard of Oz (1900): Geo. M. Hill (1904): Reilly & Britton Ozma of Oz (1907): Reilly & Britton Dorothy and the Wizard in Oz (1908): Reilly & Britton The Road to Oz (1909): Reilly & Britton The Emerald City of Oz (1910): Reilly & Britton The Patchwork Girl of Oz (1913): Reilly & Britton Tik-Tok of Oz (1914): Reilly & Britton (1915): Reilly & Britton Rinkitink in Oz (1916): Reilly & Britton The Lost Princess of Oz (1917): Reilly & Britton The Tin Woodman of Oz (1918): Reilly & Britton The Magic of Oz (1919): Reilly & Lee (1920): Reilly & Lee. : The Royal Book of Oz–originally attributed to L. Frank Baum (1921): Reilly & Lee Kabumpo in Oz (1922): Reilly & Lee The Cowardly (1923): Reilly & Lee Grampa in Oz (1924): Reilly & Lee The Lost King of Oz (1925): Reilly & Lee The Hungry Tiger of Oz (1926): Reilly & Lee The Gnome King of Oz (1927): Reilly & Lee The Giant Horse of Oz (1928): Reilly & Lee of Oz (1929): Reilly & Lee The Yellow Knight of Oz (1930): Reilly & Lee Pirates in Oz (1931): Reilly & Lee The Purple Prince of Oz (1932): Reilly & Lee Ojo in Oz (1933): Reilly & Lee Speedy in Oz (1934): Reilly & Lee The Wishing Horse of Oz (1935) Reilly & Lee. Note: Books listed below were not published with color plates, even in the 1st edition. Captain Salt in Oz (1936): Reilly & Lee Handy Mandy in Oz (1937): Reilly & Lee The Silver Princess in Oz (1938): Reilly & Lee Ozoplaning with the Wizard of Oz (1939): Reilly & Lee. JOHN R. NEILL: The Wonder City of Oz (1940): Reilly & Lee The Scalawagons of Oz (1941): Reilly & Lee Lucky Bucky in Oz (1942): Reilly & Lee. : The Magical Mimics in Oz (1946): Reilly & Lee The of Oz (1949): Reilly & Lee. RACHEL COSGROVE: The Hidden Valley of Oz (1951): Reilly & Lee. ELOISE JARVIS MCGRAW and LAUREN MCGRAW WAGNER: Merry Go Round in Oz (1963): Reilly & Lee. ************************************************************************************************* If, like most people, your book doesn’t turn out to be a first edition, that doesn’t mean it’s not of some value if it’s an early edition in very good condition. Condition “no-nos” include torn covers and spines, broken hinges, coloring and water staining. Books with these flaws have little commercial value and are best to pass on to your children or keep for sentimental value. Do to a large number of requests, I can’t provide information on your individual book, but use the Contact tab on my website if you have color plate books in very good condition that you would like to sell. I will probably ask you to send photos to assess their edition and condition. I also purchase early Oz, Baum, Denslow and Roycroft ephemera (paper items). Note: I don’t offer appraisals as it’s considered a conflict of interest to appraise items one might be interested in purchasing. You may be able to get a rough idea of your book’s value by looking for similar ones on Ebay–check the box for SOLD listings (not ASKING prices, which can be much higher than selling prices). If you need a more formal written appraisal for tax or insurance purposes, you could try the American Society of Appraisers.