Winner of the 2005 Pulitzer Prize and Tony Award. All the elements come invigoratingly together like clockwork in John Patrick Shanley's provocative new play, DOUBT, a gripping story of suspicion cast on a priest's behavior that is less about scandal tha

A mysterious and captivating tale of love, fear and superstition set in the Icelandic wilderness . . . 'An Icelandic Jane Eyre' SUNDAY TIMES 'Gripped me in a cold fist. Beautiful' SARA COLLINS 'Enthralling' STACEY HALLS 'Moving and atmospheric' LAURA PURCELL ________ 1686, Iceland. When Rósa is betrothed to Jón Eiríksson, she is sent to a remote village. There she finds a man who refuses to speak of his recently deceased first wife, and villagers who view her with suspicion. Isolated and disturbed by her husband's strange behaviour, her fears deepen. What is making the strange sounds in the attic? Who does the mysterious glass figure she is given represent? And why do the villagers fear the fast-approaching winter? . . . ________ 'A perfect, gripping winter read. I loved it' SOPHIE MACKINTOSH 'Crackles with tension. Moving and atmospheric, I couldn't put it down' LAURA PURCELL 'Memorable and compelling. A novel about what haunts us - and what should' SARAH MOSS, author of GHOST WALL 'Evocative, compelling, with a brilliant twist' DAILY EXPRESS 'Intensely written and atmospheric, with an unusual setting' DAILY MAIL 'A chilling tale' GOOD HOUSEKEEPING 'Like a ghost story told around a winter fire' TIM LEACH, author of SMILE OF THE WOLF SHORTLISTED FOR THE HISTORICAL WRITERS ASSOCIATION DEBUT AWARD

This gorgeous and empowering picture book from award-winning author-illustrator Evan Turk paints the portrait of Marietta Barovier, the groundbreaking Renaissance artisan who helped shape the future of Venetian glassmaking. Marietta and her family lived on the island of Murano, near Venice, as all glassmakers did in the early Renaissance. Her father, Angelo Barovier, was a true maestro, a master of glass. Marietta longed to create gorgeous glass too, but glass was men’s work. One day her father showed her how to shape the scalding-hot material into a work of art, and Marietta was mesmerized. Her skills grew and grew. Marietta worked until she created her own unique glass bead: the rosetta. Small but precious, the beautiful beads grew popular around the world and became as valuable as gold. The young girl who was once told she could not create art was now the woman who would leave her mark on glasswork for centuries to come.

From #1 New York Times bestselling author Dava Sobel, the "inspiring" (People), little-known true story of women's landmark contributions to astronomy A New York Times Book Review Notable Book of 2017 Named one of the best books of the year by NPR, The Economist, Smithsonian, Nature, and NPR's Science Friday Nominated for the PEN/E.O. Wilson Literary Science Writing Award "A joy to read.” —The Wall Street Journal In the mid-nineteenth century, the Harvard College Observatory began employing women as calculators, or “human computers,” to interpret the observations their male counterparts made via telescope each night. At the outset this group included the wives, sisters, and daughters of the resident astronomers, but soon the female corps included graduates of the new women's colleges—Vassar, Wellesley, and Smith. As photography transformed the practice of astronomy, the ladies turned from computation to studying the stars captured nightly on glass photographic plates. The “glass universe” of half a million plates that Harvard amassed over the ensuing decades—through the generous support of Mrs. Anna Palmer Draper, the widow of a pioneer in stellar photography—enabled the women to make extraordinary discoveries that attracted worldwide acclaim. They helped discern what stars were made of, divided the stars into meaningful categories for further research, and found a way to measure distances across space by starlight. Their ranks included Williamina Fleming, a Scottish woman originally hired as a maid who went on to identify ten novae and more than three hundred variable stars; Annie Jump Cannon, who designed a stellar classification system that was adopted by astronomers the world over and is still in use; and Dr. Cecilia Helena Payne, who in 1956 became the first ever woman professor of astronomy at Harvard—and Harvard’s first female department chair. Elegantly written and enriched by excerpts from letters, diaries, and memoirs, The Glass Universe is the hidden history of the women whose contributions to the burgeoning field of astronomy forever changed our understanding of the stars and our place in the universe.

Why the gender gap persists and how we can close it. For years women have made up the majority of college-educated workers in the United States. In 2019, the gap between the percentage of women and the percentage of men in the workforce was the smallest on record. But despite these statistics, women remain underrepresented in positions of power and status, with the highest-paying jobs the most gender-imbalanced. Even in fields where the numbers of men and women are roughly equal, or where women actually make up the majority, leadership ranks remain male-dominated. The persistence of these inequalities begs the question: Why haven't we made more progress? In Glass Half-Broken, Colleen Ammerman and Boris Groysberg reveal the pervasive organizational obstacles and managerial actions—limited opportunities for development, lack of role models and sponsors, and bias in hiring, compensation, and promotion—that create gender imbalances. Bringing to light the key findings from the latest research in psychology, sociology, organizational behavior, and economics, Ammerman and Groysberg show that throughout their careers—from entry-level to mid-level to senior-level positions—women get pushed out of the leadership pipeline, each time for different reasons. Presenting organizational and managerial strategies designed to weaken and ultimately break down these barriers, Glass Half-Broken is the authoritative resource that managers and leaders at all levels can use to finally shatter the glass ceiling.

A happily misanthropic Middle East divorcee finds refuge in books in a “beautiful and absorbing” novel of late-life crisis (The New York Times). Aaliya is a divorced, childless, and reclusively cranky translator in Beirut nurturing doubts about her latest project: a 900-page avant-garde, linguistically serpentine historiography by a late Chilean existentialist. Honestly, at seventy-two, should she be taking on such a project? Not that Aailiya fears dying. Women in her family live long; her mother is still going crazy. But on this lonely day, hour-by-hour, Aaliya’s musings on literature, philosophy, her career, and her aging body, are suddenly invaded by memories of her volatile past. As she tries in vain to ward off these emotional upwellings, Aaliya is faced with an unthinkable disaster that threatens to shatter the little life she has left. In this “meditation on, among other things, aging, politics, literature, loneliness, grief and resilience” (The New York Times), Alameddine conjures “a beguiling narrator . . . who is, like her city, hard to read, hard to take, hard to know and, ultimately, passionately complex” (San Francisco Chronicle). A finalist for the National Book Critics Circle Award and the National Book Award, An Unnecessary Woman is “a fun, and often funny . . . grave, powerful . . . [and] extraordinary” Washington Independent Review of Books) ode to literature and its power to define who we are. “Read it once, read it twice, read other books for a decade or so, and then pick it up and read it anew. This one’s a keeper” (The Independent)

Louis Comfort Tiffany (1848-1933) is celebrated today as one of the most influential creative designers of the late 19th- and early 20th-centuries. A New Light on Tiffany: Clara Driscoll and the Tiffany Girls presents the celebrated works of Tiffany Studios in an entirely new context, focusing on the "Tiffany Girls", the 27 women who laboured behind the scenes to create the masterpieces now inextricably linked to the Tiffany name. Recently discovered correspondence written by Ohio-born Clara Driscoll, head of the so-called "Women's Glass Cutting Department" at Tiffany Studios, reveals in convincing and vivid detail how it was in fact Driscoll who generated designs for such masterpieces as the famous Wisteria, Dragonfly and Peony goods. At the heart of the book are over 50 Tiffany lamps, windows, ceramics, enamels and mosaics, supplemented by a wide array of related documents and archival photographs.