delighted in making points in the most provocative way possible. There is some controversy over what is the most outrageous thing he ever said. Among the more obvious contenders are the repudiation of sets, the grue paradox, the contention that one wrong note disqualifies a performance as an instance of a musical work, and the claim that there are many worlds if any. In such remarks, Goodman threw down the gauntlet. If you disagree with one (or more) of the above, you need to show what is wrong with the argument that leads to it. All too frequently the initial irritation is compounded as we begin to appreciate the difficulty of evading his conclusions without begging the question, or committing ourselves to claims that seem even more dubious than his.