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In all my years of teaching with Steve, I have never seen him flustered or at a loss for words—except once. In our course entitled "Thinking About Thinking," he had been presenting a lecture on the randomness of nature and referred to Einstein's famous dictum "I shall never believe that God plays dice with the world." I responded by walking up to the blackboard and writing, "Gould or God?" I then argued that if God does not play dice with the universe, as Einstein said, and if the universe is as random as the throws of honest dice, as Gould says, then there could not be a God. Hence, Gould or God? (Or at the very least, Gould or Einstein?) Then I sat down, leaving it to Steve to answer the challenge. He stood up and looked at the words on the blackboard. He hesitated, gathered his thoughts, and then launched into a defense of God so brilliant that even William Jennings Bryan would have been proud. It was then that I realized what a great lawyer Gould would make. As for God... ?
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Alan Dershowitz, "This view of Stephen Jay Gould" Natural History 108 (Nov. 1999): 50–51.

 

Stephen Jay Gould

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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.

 

Stephen Jay Gould

 

So Einstein was wrong when he said, "God does not play dice." Consideration of black holes suggests, not only that God does play dice, but that he sometimes confuses us by throwing them where they can't be seen.

 

Stephen Hawking

 

Don't be frightened, Mr.Gould is here. (audience laughter) He will appear in a moment. I am not — as you know — in the habit of speaking on any concert except the Thursday night previews, but a curious situation has arisen, which merits, I think, a word or two. You are about to hear a rather, shall we say, unorthodox performance of the Brahms D Minor Concerto, a performance distinctly different from any I've ever heard, or even dreamt of for that matter, in its remarkably broad tempi and its frequent departures from Brahms' dynamic indications. I cannot say I am in total agreement with Mr. Gould's conception. And this raises the interesting question: "What am I doing conducting it?" (mild laughter from the audience) I'm conducting it because Mr. Gould is so valid and serious an artist, that I must take seriously anything he conceives in good faith, and his conception is interesting enough so that I feel you should hear it, too. But the age-old question still remains: "In a concerto, who is the boss (audience laughter) — the soloist or the conductor?" (Audience laughter grows louder) The answer is, of course, sometimes one and sometimes the other depending on the people involved. But almost always, the two manage to get together, by persuasion or charm or even threats (audience laughs) to achieve a unified performance. I have only once before in my life had to submit to a soloist's wholly new and incompatible concept, and that was the last time I accompanied Mr. Gould. (audience laughs loudly) But this time, the discrepancies between our views are so great that I feel I must make this small disclaimer. Then why, to repeat the question, am I conducting it? Why do I not make a minor scandal — get a substitute soloist, or let an assistant conduct? Because I am fascinated, glad to have the chance for a new look at this much-played work; because, what's more, there are moments in Mr. Gould's performance that emerge with astonishing freshness and conviction. Thirdly, because we can all learn something from this extraordinary artist who is a thinking performer; and finally because there is in music what Dimitri Mitropoulos used to call "the sportive element" (mild audience laughter) — that factor of curiousity, adventure, experiment, and I can assure you that it has been an adventure this week (audience laughter) collaborating with Mr. Gould on this Brahms concerto; and it's in this spirit of adventure that we now present it to you.

 

Glenn Gould

 

My name has been associated with that of Mr. Jay Gould and others in connection with the speculation, and gross injustice has been done me thereby.… You have my authority for stating that I consider Mr. Jay Gould a damned villain.

 

Jay Gould

 

I first met Stephen Jay Gould in the sixth grade in Queens, New York, when we were the only two geeks in the school interested in natural history and particularly in dinosaurs—decades before the advent of worldwide dinomania. In junior high school, our schoolmates nicknamed me "Dino" and Gould "Fossilface." We spent many afternoons at the American Museum of Natural History, where such curators as Edwin Colbert and Norman Newell fanned the flames of our hobby. We lost touch for twenty-five years, and I was delighted one day to discover Steve's columns in Natural History. At the time, both my life and my career had wandered far away from natural history, and I was working as an editor of what used to be called pulp magazines. I wrote to him, "You have inherited Thomas Huxley's mantle in explaining evolution to a new generation," and I asked if he remembered me. He wrote back, "Blood may be thicker than water, but junior high school friendships are thicker than anything." Steve encouraged me to return to the fold and take up my boyhood interests once again. But where to begin, with no credentials and no umbrella institution? He urged me to pursue the history of science as an independent scholar, to make a pilgrimage to Darwin's home in England, and to buy antiquarian natural history books in the shops around the British Museum. He gave me letters of introduction to top scholars. Eventually he encouraged me to write my Encyclopedia of Evolution, to which he generously contributed a foreword. Soon after it was published, in 1990, I was hired by Natural History, and among my duties is seeing "This View of Life" through to press each month (one does not really edit Stephen Jay Gould). My reconnection with the man, and with the passions and ideas that we both enjoy, has transformed my life immeasurably for the better. Thanks, Fossilface!

 

Stephen Jay Gould