I was quite surprised to read the back to order on "the Gouldian track" = when we see the magnitude of Gould's cultural interests it seems to me difficult to speak of "the" Gouldian track, not even music and piano playing
I too was surprised to read what I allegedly said, but perhaps I
did not express myself clearly enough. When I said we had strayed rather
far from "topics related to Gould" I meant: topics RELATED TO Gould. I
couldn't agree with her more that this could and often does cover a vast
territory, but often it does not. But, that's just my opinion. I also agree
with Jacqueline that we should "follow as many roads he himself opened"
but then I have never said otherwise. Naturally, you are free to post whatever
you like; I'm not the gatekeeper and I don't give the "orders" here. I
made an observation, and attempted to make a SUGGESTION with a sense of
humour. Clearly, it was not altogether successful. Anyway, I'm listening:
what IS the connection between Gould and John Updike's latest story in
the New Yorker?
I did not see Jacqueline's post regarding her "work on Gould's Trilogy with Bion's psychoanalytic work" but I look forward to her next post on "Le Nouvel Auditeur."
-Birgitte Jorgensen