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"When did we start dressing girls in pink and boys in blue?" To uncover the answer, dress historian Jo Paoletti looked at advertising, catalogs, dolls, baby books, mommy blogs and discussion forums, and other popular media to examine the surprising shifts in attitudes toward color as a mark of gender in American children's clothing. She chronicles the decline of the white dress for both boys and girls, the introduction of rompers in the early 20th century, the gendering of pink and blue, the resurgence of unisex fashions, and the origins of today's highly gender-specific baby and toddler clothing.

Amidst the growing forums of kinky Jews, orthodox drag queens, and Jewish geisha girls, we find today's sexy Jewess in a host of reflexive plays with sexed-up self-display. A social phantasm with real legs, she moves boldly between neo-burlesque striptease, comedy television, ballet movies, and progressive porn to construct the 21st Century Jewish American woman through charisma and comic craft, in-your-face antics, and offensive charm. Her image redresses longstanding stereotypes of the hag, the Jewish mother, and Jewish American princess that have demeaned the Jewish woman as overly demanding, inappropriate, and unattractive across the 20th century, even as Jews assimilated into the American mainstream. But why does "sexy" work to update tropes of the Jewish woman? And how does sex link to humor in order for this update to work? Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. In a contemporary period after the thrusts of assimilation and women's liberation movements, performances usher in new versions of old scripts with ranging consequences. At the core is the recuperative performance of identity through impersonation, and the question of its radical or conservative potential. Appropriating, re-appropriating, and mis-appropriating identity material within and beyond their midst, Sexy Jewess artists play up the failed logic of representation by mocking identity categories altogether. They act as comic chameleons, morphing between margin and center in countless number of charged caricatures. Embodying ethnic and gender positions as always already on the edge while ever more in the middle, contemporary Jewish female performers extend a comic tradition in new contexts, mobilizing progressive discourses from positions of newfound race and gender privilege.

When Marcus Didius Falco, a Roman "informer" who has a nose for trouble that's sharper than most, encounters Sosia Camillina in the Forum, he senses immediately all is not right with the pretty girl. She confesses to him that she is fleeing for her life, and Falco makes the rash decision to rescue her--a decision he will come to regret. For Sosia bears a heavy burden: as heavy as a pile of stolen Imperial ingots, in fact. Matters just get more complicated when Falco meets Helena Justina, a Senator's daughter who is connected to the very same traitors he has sworn to expose. Soon Falco finds himself swept from the perilous back alleys of Ancient Rome to the silver mines of distant Britain--and up against a cabal of traitors with blood on their hands and no compunction whatsoever to do away with a snooping plebe like Falco....