But when Friel began checking Lomborg’s sources, “I found problems,” he says. “As an experiment, I looked up one of his footnotes, found that it didn’t support what he said, and then did another, and kept going, finding the same pattern.” He therefore took on the Augean stables undertaking of checking every one of the hundreds of citations in Cool It. Friel’s conclusion, as per his book’s title, is that Lomborg is “a performance artist disguised as an academic.”
I don’t want to be as trusting as the reviewers who praised Lomborg’s scholarship without (it seems) bothering to check his references, so rather than taking Friel at his word just as they took Lomborg at his, I’ve done my best to do that checking. Although Friel engages in some bothersome overkill, overall his analysis is compelling.
Hat tip: Jimmy Nightingale.