“In his references to my own work, Gould includes at least nine citations that involve more than just an expression of Gould's opinion; in these citations Gould purportedly paraphrases my views. Yet in eight of the nine cases, Gould's representation of these views is false, misleading, or grossly caricatured. Nonspecialists could have no way of knowing any of this without reading the cited sources. While an author can occasionally make an inadvertent mistake in paraphrasing another, it appears Gould's paraphrases are consistently slanted to serve his own message…
Of all the book's references, a full 27 percent precede 1900. Another 44 percent fall between 1900 and 1950 (60 percent of those are before 1925); and only 29 percent are more recent than 1950. From the total literature spanning more than a century, the few "bad apples" have been hand-picked most aptly to serve Gould's purpose.”

— Arthur Jensen

Arthur Jensen, "The Debunking of Scientific Fossils and Straw Persons" http://www.mugu.com/cgi-bin/Upstream/jensen-gould-fossils Contemporary Education Review 1:2, 1982

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Arthur Jensen 11

professor of educational psychology 1923–2012

Simon Conway Morris (1951) British palaeontologist

Source: The Crucible of Creation (1998), p. 11.

“I work in evolutionary biology, but with cells and microorganisms. Richard Dawkins, John Maynard Smith, George Williams, Richard Lewontin, Niles Eldredge, and Stephen Jay Gould all come out of the zoological tradition, which suggests to me that, in the words of our colleague Simon Robson, they deal with a data set some three billion years out of date. Eldredge and Gould and their many colleagues tend to codify an incredible ignorance of where the real action is in evolution, as they limit the domain of interest to animals… very tardy on the evolutionary scene, and they give us little real insight into the major sources of evolution's creativity. By "codifying ignorance" I refer in part to the fact that they miss four of the five kingdoms of life… bacteria, protoctista, fungi, and plants.”

Lynn Margulis (1938–2011) American evolutionary biologist

"Gaia is a Tough Bitch," The Third Culture: Beyond the Scientific Revolution ed., John Brockman (1995).

“More generally it is completely unrealistic to claim, as Gould and many others do, that religion keeps itself away from science's turf, restricting itself to morals and values. A universe with a supernatural presence would be a fundamentally and qualitatively different kind of universe from one without. The difference is, inescapably, a scientific difference. Religions make existence claims, and this means scientific claims.”

Richard Dawkins (1941) English ethologist, evolutionary biologist and author

"When Religion Steps on Science’s Turf", Free Inquiry (1998)

“The Goldberg Variations are, as explained in my booklet-text, in short, music that observes neither end nor beginning, music with neither real climax nor real resolution, music that, like Baudelaire’s lovers, “rests lightly on the wings of the unchecked wind.” Gould is referring here to the circular design of the work, a circularity whose development is polarized, inspired, and fed by more and more new energy fields. The result is a universe that in its significance resembles the alpha and omega of music in general, music that evolves out of nothing and disappears back into nothing as if in a state in which time stands still.”

Burkard Schliessmann classical pianist

Talkings on Bach

“To approach Bach, one has to realize that 100 years after Bach’s death, Bach and his music totally had been forgotten. Even while he was still alive, Bach himself believed in the polyphonic power and the resulting symmetric architectures of well-proportioned music. But this had been an artificial truth - even for him. Other composers, including his sons, already composed in another style, where they found other ideals and brought them to new solutions. The spirit of the time already had changed while Bach was still alive. A hundred years later, it was Mendelssohn who about 1850 discovered Bach anew with the performance of the St. Matthew Passion. Now a new renaissance began, and the world learned to know the greatness of Bach. To become acquainted with Bach, many transcriptions were done. But the endeavors in rediscovering Bach had been - stylistically - in a wrong direction. Among these were the orchestral transcriptions of Leopold Stokowski, and the organ interpretations of the multitalented Albert Schweitzer, who, one has to confess, had a decisive effect on the rediscovery of Bach. All performances had gone in the wrong direction: much too romantic, with a false knowledge of historic style, the wrong sound, the wrong rubato, and so on. The necessity of artists like Rosalyn Tureck and Glenn Gould - again 100 years later - has been understandable: The radicalism of Glenn Gould pointed out the real clarity and the internal explosions of the power-filled polyphony in the best way. This extreme style, called by many of his critics refrigerator interpretations, however really had been necessary to demonstrate the right strength to bring out the architecture in the right manner, which had been lost so much before. I’m convinced that the style Glenn Gould played has been the right answer. But there has been another giant: it was no less than Helmut Walcha who, also beginning in the 1950, started his legendary interpretations for the DG-Archive productions of the complete organ-work cycle on historic organs (Silbermann, Arp Schnitger). Also very classical in strength of speed and architectural proportions, he pointed out the polyphonic structures in an enlightened but moreover especially humanistic way, in a much more smooth and elegant way than Glenn Gould on the piano. Some years later it was Virgil Fox who acquainted the U. S. with tours of the complete Bach cycle, which certainly was effective in its own way, but much more modern than Walcha. The ranges of Bach interpretations had become wide, and there were the defenders of the historical style and those of the much more modern romantic style. Also the performances of the orchestral and cantata Bach had become extreme: on one side, for example, Karl Richter, who used a big and rich-toned orchestra; on the other side Helmut Rilling, whose Bach was much more historically oriented.”

Burkard Schliessmann classical pianist

Talkings on Bach

“Artistic responsibility? (Schliessmann answers using Bach performance as his example): After the rediscovery of Bach by Mendelssohn, Bach was interpreted in a very romantic style. This had nothing to do with Bach. Leopold Stokowski made arrangements for orchestra. O. K., the public had a chance to know the works, but it also had nothing to do with Bach. So Tureck and Gould - despite their substantial differences - came and made something completely radical. Only in this way was there a chance to ‘correct’ the ‘picture’ of interpretation and move in the right direction.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

“Children in Australia are still named after movies and sporting events. You can tell roughly the year the swimming star Shane Gould was born. It was about the time Shane was released. There was a famous case of a returned serviceman who named his son after all the campaigns he had been through in the Western Desert. The kid was called William Bardia Escarpment Qattara Depression Mersa Matruh Tobruk El Alamein Benghazi Tripoli Harris.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

Source: Memoirs, Unreliable Memoirs (1980), p. 29

“It is visible in the publication of opinions, in the structure of sentences, and in the fidelity of citations.”

George Henry Lewes (1817–1878) British philosopher

The Principles of Success in Literature (1865)
Context: Men who are never flagrantly dishonest are at times unveracious in small matters, colouring or suppressing facts with a conscious purpose; and writers who never stole an idea nor pretended to honours for which they had not striven, may be found lapsing into small insincerities, speaking a language which is not theirs, uttering opinions which they expect to gain applause rather than the opinions really believed by them. But if few men are perfectly and persistently sincere, Sincerity is nevertheless the only enduring strength.
The principle is universal, stretching from the highest purposes of Literature down to its smallest details. It underlies the labour of the philosopher, the investigator, the moralist, the poet, the novelist, the critic, the historian, and the compiler. It is visible in the publication of opinions, in the structure of sentences, and in the fidelity of citations.

“I crave to be understood because when a person writes about himself, he does not work in obscurity but a little too much in the light which he focuses on himself. To me the satisfaction comes from the fact that at least I have said something about myself in my own voice without ‘paraphrasing any hard truths’.”

Mohammad Hidayatullah (1905–1992) 11th Chief Justice of India

Source: Law in the Scientific Era, P.vii.

“From the age of about eight or nine I read just about every comic book available in England.”

Ted Hughes (1930–1998) English poet and children's writer

The Paris Review interview
Context: From the age of about eight or nine I read just about every comic book available in England. At that time my parents owned a newsagent’s shop. I took the comics from the shop, read them, and put them back. That went on until I was twelve or thirteen. Then my mother brought in a sort of children’s encyclopedia that included sections of folklore. Little folktales. I remember the shock of reading those stories. I could not believe that such wonderful things existed. … throughout your life you have certain literary shocks, and the folktales were my first. From then on I began to collect folklore, folk stories, and mythology. That became my craze.

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