Kristy Maddux. The Faithful Citizen: Popular Christian Media and Gendered Civic Identities. Waco: Baylor University Press, 2010. 282 pp. $22.76. ISBN: 160258253X The Faithful Citizen is an intertextual analysis of ways in which Christian-themed popular media texts model forms of for Christian viewers. Kristy Maddux pays close attention to construction and deployment of gender in each of her major case studies, which include films, a popular Christian fiction series, and a hit family television show. Breaking from social scientific model of analyzing faith-based through measured reception studies, Maddux uses rhetorical criticism as well as feminist theory and close textual analysis to find conflicted images of engagement with five different ideologies of gender, which, taken together, suggest richness of contemporary ideals of participation (6). To Maddux, these models of include narrow definitions of citizenship, shifting impulses between moral reform and social justice, and influence of new media in making visible new ways of participating in life (6-7). Maddux organizes her book around media texts and their corresponding notions of gendered participation. Amazing Grace (chapter two) illustrates genteel masculinity in William Wilberforce's fight for abolition; The Passion of Christ (chapter three) models submission and valorizes suffering, while blurring lines between liberation theology and perceived (white) victimhood; Left Behind (chapter four) idealizes brutish masculinity in novel's apocalyptic setting; 7th Heaven (chapter five) depicts Camden family's charity, suggesting that faith communities can (and should) provide for welfare needs of their neighbours when federal government cannot; and The DaVinci Code (chapter six) depicts civic nonparticipation, or relegation of human sexuality and religious faith to private sphere. Maddux's final chapter explores limitations and implications of each model of gendered for other identity categories, such as race. It is important to note that Maddux does not treat these texts as repositories of ideas but, rather, as texts that construct, disseminate, and popularize these ideologies and identities (24). Maddux seeks to identify what these texts do in their social world, not simply what they mean about their social world (24). By performing close readings and parsing out various conventions work, Maddux not only makes notions of gendered explicit but also legible to readers. One example of this kind of legibility is found in Maddux's chapter about The DaVinci Code where she clearly deciphers how gender, religion, and civic nonparticipation intersect in a popular text, which many leaders of Christian denominations viewed as being radically feminist. While The DaVinci Code's historical narrative and surface-level plot celebrate the sacred feminine, Maddux contends that its focus on women's capacity to engage in heterosexual reproduction and motherhood is made at expense of any other feminine qualities (160). …