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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.
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Arthur Jensen, "The Debunking of Scientific Fossils and Straw Persons" Contemporary Education Review 1:2, 1982

 

Stephen Jay Gould

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S. J. Gould’s Mismeasure of Man is a paleontologist's distorted view of what psychologists think, untutored in even the most elementary facts of the science. Gould is one of a number of politically motivated scientists who have consistently misled the public about what psychologists are doing in the field of intelligence, what they have discovered and what conclusions they have come to. Gould simply refuses to mention unquestionable facts that do not fit into his politically correct version; he shamelessly attacks the reputations of eminent scientists of whom he disapproves, on completely nonfactual grounds, and he misrepresents the views of scientists.

 

Stephen Jay Gould

 

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... ?

 

Stephen Jay 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

 

The power of Gould's analysis lies in his focus on particulars. Rather than attempt a grand critique of all “scientific” efforts aimed at justifying social inequalities, Gould performs a well-reasoned assessment of the errors underlying a specific set of theories and empirical claims.

 

Stephen Jay Gould

 

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