Abstract

Two aims are at work in James Brown's Smoke and Mirrors: to defend realism against some of its recent detractors, and to expound his own programmatic commitment to a Platonic form of realism. I am sympathetic to his first goal, and dubious about the second, so, as Brown himself predicts, I am enthusiastic about the critical part of the book but critical of his Platonic project. But I will begin this review with a hearty recommendation. Smoke and Mirrors is clear, articulate, perceptive, occasionally provocative, and a healthy antidote to the sceptical pessimism about science that one encounters so often today.