There was no doubt that Agnes Edwards had ambition. It stemmed from the self-confidence she had gained during her university years and from being in the first generation of women to vote. Her professors at the University of California Berkeley had encouraged her to pursue a career in publishing or teaching. What's more, she knew she could support herself with her secretarial skills and job experience. So it was, in the fall of 1922, that Agnes left her home in California and journeyed to Boston. Through three hundred letters, she tells the story of her ambition to become an editor and writer at Boston's prestigious Atlantic Monthly Press, along with the challenges she faced in finding her way in the male-dominated field of book publishing. Both triumphs and disappointments awaited her in the city, as well as an unexpected romance. Going abroad in 1925, she interviewed several authors, including A. A. Milne, creator of Winnie the Pooh. An entertaining record of one woman's life through the early- to mid-1920s, Boston Glass Ceiling provides a personal and detailed glimpse into Boston at that time and offers keen insight into the publishing world from a woman's perspective.

After a Damascene moment following a school trip to the US, Sir Iain Hall realised the UK's approach to urban education is all wrong. In Glass Ceilings, the hugely experienced and respected educator lays out his vision to get social mobility moving again in the UK.

The Federal Glass Ceiling Commission gathered information on barriers, opportunities, policies, perceptions, & practices as they affect five target groups that have been underrepresented in top-level management -- women of all races, & African American, American Indian, Asian & Pacific Islander, & Hispanic American men.

A groundbreaking study, the first ever, of women exectuvies in Fortune 100-sized companies.

Often problematically labeled as “Brutalist” architecture, the concrete buildings that transformed Boston during 1960s and 1970s were conceived with progressive-minded intentions by some of the world’s most influential designers, including Marcel Breuer, Le Corbusier, I. M. Pei, Henry Cobb, Araldo Cossutta, Gerhard Kallmann and Michael McKinnell, Paul Rudolph, Josep Lluís Sert, and The Architects Collaborative. As a worldwide phenomenon, building with concrete represents one of the major architectural movements of the postwar years, but in Boston it was deployed in more numerous and diverse civic, cultural, and academic projects than in any other major U.S. city. After decades of stagnation and corrupt leadership, public investment in Boston in the 1960s catalyzed enormous growth, resulting in a generation of bold buildings that shared a vocabulary of concrete modernism. The period from the 1960 arrival of Edward J. Logue as the powerful and often controversial director of the Boston Redevelopment Authority to the reopening of Quincy Market in 1976 saw Boston as an urban laboratory for the exploration of concrete’s structural and sculptural qualities. What emerged was a vision for the city’s widespread revitalization often referred to as the “New Boston.” Today, when concrete buildings across the nation are in danger of insensitive renovation or demolition, Heroic presents the concrete structures that defined Boston during this remarkable period—from the well-known (Boston City Hall, New England Aquarium, and cornerstones of the Massachusetts Institute of Technology and Harvard University) to the already lost (Mary Otis Stevens and Thomas F. McNulty’s concrete Lincoln House and Studio; Sert, Jackson & Associates’ Martin Luther King Jr. Elementary School)—with hundreds of images; essays by architectural historians Joan Ockman, Lizabeth Cohen, Keith N. Morgan, and Douglass Shand-Tucci; and interviews with a number of the architects themselves. The product of 8 years of research and advocacy, Heroic surveys the intentions and aspirations of this period and considers anew its legacies—both troubled and inspired.