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Extraordinary Canadians
Extraordinary Canadians: Glenn Gould
Glenn Gould, one of the world’s most renowned classical musicians of the twentieth century, was also known as an eccentric genius—solitary, headstrong, a hypochondriac virtuoso. Abandoning stage performances in 1964, Gould concentrated instead on mastering the various recordings, radio, television, and print. His sudden death at age fifty stunned the world, but his music and legacy continue to inspire. Philosopher and critic Mark Kingwell regards Gould as a philosopher of music whose ideas about music governed his life. But those ideas were contradictory, mischievous, and deliberately provocative. Instead of a single narrative line to explain the musician, Kingwell adopts a kaleidoscopic approach. Just as Gould played twenty-one “takes” to record the opening aria in the famed 1955 Goldberg Variations, Kingwell offers twenty-one “takes” on Gould’s life. Each version offers a different interpretation of the man, but in each, Kingwell is sensitive to the complex harmonies and dissonances that sounded throughout the life of the great Gould.
237 pages, Kindle Edition
First published September 22, 2009
About the author
Mark Kingwell
64 books57 followersMark Gerald Kingwell B.A, M.Litt, M.Phil, PhD, D.F.A. (born March 1, 1963) is a Canadian philosopher who is currently professor of philosophy and associate chair at the University of Toronto's Department of Philosophy. Kingwell is a fellow of Trinity College and a Senior Fellow of Massey College. He specialises in theories of politics and culture.
Kingwell has published twelve different books, most notably, A Civil Tongue: Justice, Dialogue, and the Politics of Pluralism, which was awarded the Spitz Prize for political theory in 1997. In 2000 Kingwell received an honorary Doctor of Fine Arts from the Nova Scotia College of Art and Design, for contributions to theory and criticism. He has held visiting posts at various institutions including: Cambridge University, University of California at Berkeley, and City University of New York where he held the title of Weissman Distinguished Professor of Humanities.
He studied at the University of Toronto, editing The Varsity through 1983 to 1984 and the University of Toronto Review from 84-85. He received his BA degree from the University of St. Michael's College with High Distinction in 1985, his MLitt degree from Edinburgh University in 1987, and both his M.Phil and PhD degrees from Yale University in 1989 and 1991 respectively. He was married to Gail Donaldson in 1988. The marriage ended in divorce in 2004.
Kingwell is a contributing editor to Harper's Magazine, the literary quarterly Descant, the political monthly This Magazine and the Globe and Mail books section. He was also a drinks columnist for the men's magazine Toro. He was formerly a columnist for the National Post, and a contributing editor of Saturday Night. He frequently appears on television and radio, often on the CBC, and is well known for his appearance in the documentary film The Corporation. He has delivered, among others, the George Grant, Harold Innis, Marx Wartofsky and Larkin-Stuart memorial lectures.
Kingwell’s work has been translated into ten languages, and he lectures to academic and popular audiences around the world. From 2001 to 2004, he was chair of the Institute for Contemporary Culture at the Royal Ontario Museum. His work on philosophy, art, and architecture has appeared in many leading academic journals and magazines, including The Journal of Philosophy, Philosophical Forum, Ethics, Political Theory, and the Yale Journal of Law and the Humanities, the New York Times and The New York Times Magazine, Utne Reader, Adbusters, the Walrus, Harvard Design Magazine,Canadian Art, Azure, Toronto Life, the Globe and Mail, and the National Post.
Kingwell is one of two University of Toronto professors teaching a first year philosophy course entitled Introduction to Philosophy. Kingwell teaches his class in Victoria College's Isabel Bader Theatre, with a class size of around 700 students. He has also been part of the University of Trinity College's TrinityOne program, for which he taught a seminar class entitled Ethics and the Creative Imagination.
He describes himself as a social democrat and a "recovering Catholic". According to the Canadian Who's Who 2006, he also enjoys running, baseball, basketball, jazz, films and pop music. He has two brothers: a younger brother named Sean Kingwell and an older brother named Steven Kingwell.
Kingwell has published twelve different books, most notably, A Civil Tongue: Justice, Dialogue, and the Politics of Pluralism, which was awarded the Spitz Prize for political theory in 1997. In 2000 Kingwell received an honorary Doctor of Fine Arts from the Nova Scotia College of Art and Design, for contributions to theory and criticism. He has held visiting posts at various institutions including: Cambridge University, University of California at Berkeley, and City University of New York where he held the title of Weissman Distinguished Professor of Humanities.
He studied at the University of Toronto, editing The Varsity through 1983 to 1984 and the University of Toronto Review from 84-85. He received his BA degree from the University of St. Michael's College with High Distinction in 1985, his MLitt degree from Edinburgh University in 1987, and both his M.Phil and PhD degrees from Yale University in 1989 and 1991 respectively. He was married to Gail Donaldson in 1988. The marriage ended in divorce in 2004.
Kingwell is a contributing editor to Harper's Magazine, the literary quarterly Descant, the political monthly This Magazine and the Globe and Mail books section. He was also a drinks columnist for the men's magazine Toro. He was formerly a columnist for the National Post, and a contributing editor of Saturday Night. He frequently appears on television and radio, often on the CBC, and is well known for his appearance in the documentary film The Corporation. He has delivered, among others, the George Grant, Harold Innis, Marx Wartofsky and Larkin-Stuart memorial lectures.
Kingwell’s work has been translated into ten languages, and he lectures to academic and popular audiences around the world. From 2001 to 2004, he was chair of the Institute for Contemporary Culture at the Royal Ontario Museum. His work on philosophy, art, and architecture has appeared in many leading academic journals and magazines, including The Journal of Philosophy, Philosophical Forum, Ethics, Political Theory, and the Yale Journal of Law and the Humanities, the New York Times and The New York Times Magazine, Utne Reader, Adbusters, the Walrus, Harvard Design Magazine,Canadian Art, Azure, Toronto Life, the Globe and Mail, and the National Post.
Kingwell is one of two University of Toronto professors teaching a first year philosophy course entitled Introduction to Philosophy. Kingwell teaches his class in Victoria College's Isabel Bader Theatre, with a class size of around 700 students. He has also been part of the University of Trinity College's TrinityOne program, for which he taught a seminar class entitled Ethics and the Creative Imagination.
He describes himself as a social democrat and a "recovering Catholic". According to the Canadian Who's Who 2006, he also enjoys running, baseball, basketball, jazz, films and pop music. He has two brothers: a younger brother named Sean Kingwell and an older brother named Steven Kingwell.
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Displaying 1 - 14 of 14 reviews
January 6, 2013
I'm not one to frequently write reviews for the books I read - really, I don't have much time to do so, even if these books generate continuous streams of thought that fumble around my head while I'm at school or elsewhere. This one I feel compelled to write about, if only because it is a strange venture and because the author is currently a professor of mine.
It is supposed to be a biography of famed Canadian pianist and eccentric intellectual Glenn Gould, but it really isn't. Not in the typical sense. Kingwell admits that the traditional linear narrative of biography does not suit the complex identity that Gould was, so he openly does away with linearity and decides to mirror his exploration using twenty-one "takes," in homage to the twenty-one takes Gould recorded for the opening aria of his 1955 recording of Bach's Goldberg Variations. An interesting conceit, but where does it lead?
It leads to Kingwell's writing something of a personal manifesto on the nature of music. This is not surprising, given that Kingwell is a philosopher, but it's an odd treatise that does not mirror what the cover portends. A casual reader wanting to read about Gould is instead knee-deep in lofty philosophical musings on the aesthetics of music, with Gould a kind of conduit to his discussion, peering behind the curtain and being shuffled out from time to time like a fashion model sporting a different outfit in each of Kingwell's "takes." The analogy is apt, because Gould enjoyed playing multiple imaginary personalities late in his life, but Kingwell dresses Gould not with distinct characters but rather characteristics that further is thoughts on music as it is to him. He writes as though Gould would have agreed with him, as though Gould would have nodded his head appreciatively when read the manuscript. Kingwell says he never knew Gould, but nevertheless he writes as though Gould came to him in spirit and the two discussed musical aesthetics over arrowroot cookies and Perrier.
This is not a bad project by any means, and Kingwell is an extremely gifted intellectual, making cogent and impressively well-structured arguments as to why he thinks music is such and such. But as I read his work, I wondered if this would have been better off as a standalone piece and not linked to the Extraordinary Canadians series. I have not read any other book in the series, but I assume they are easy to consume for general audiences (as one review purports at the book's front). This one, well, isn't. Those with no firsthand experience in philosophy and philosophical literature will find this book an ordeal to read. Kingwell, for some unknown reason, doesn't lower himself to the level of the expected audience of this series. As mentioned before, the writing is lofty, technical, challenging. Kingwell brings up terms and philosophers as though he expects the reader to know what means what and who is who. It was frustrating even for me at times, although he does offer additional commentary in his sources. Nevertheless, there is a distancing effect created between author and audience, and while Kingwell is witty and amusing, the gap is never completely bridged.
In the end, I think I got what Gould was about, although in a frenzy of loose strands. He was an interesting, ingenius man, multi-talented and yet compacted with mystery and neuroses. If you are looking to read a conventional biography of Gould, however, then I think something more straightforward would be best. This could be used as a companion to any biography, albeit if the reader is willing to roll up their sleeves and enter philosophical terrain. Kingwell's aesthetic deconstructions are wonderful. They excite the brain cells and give them the best kind of nourishment. But the book's prime fault is that it has the slight odour of false advertising, a biography that is not really a biography in a series that one expects is about biographies. Kingwell's approach is unique, even model. I applaud him for doing something different. But I cannot ignore the general readership, and because I fear most won't "get" it, I can't really champion it to the rafters, either. But don't be afraid to pick this up if you're looking for a challenge and a little more clarity to the Gouldian enigma that still remains even thirty years after his life ended.
It is supposed to be a biography of famed Canadian pianist and eccentric intellectual Glenn Gould, but it really isn't. Not in the typical sense. Kingwell admits that the traditional linear narrative of biography does not suit the complex identity that Gould was, so he openly does away with linearity and decides to mirror his exploration using twenty-one "takes," in homage to the twenty-one takes Gould recorded for the opening aria of his 1955 recording of Bach's Goldberg Variations. An interesting conceit, but where does it lead?
It leads to Kingwell's writing something of a personal manifesto on the nature of music. This is not surprising, given that Kingwell is a philosopher, but it's an odd treatise that does not mirror what the cover portends. A casual reader wanting to read about Gould is instead knee-deep in lofty philosophical musings on the aesthetics of music, with Gould a kind of conduit to his discussion, peering behind the curtain and being shuffled out from time to time like a fashion model sporting a different outfit in each of Kingwell's "takes." The analogy is apt, because Gould enjoyed playing multiple imaginary personalities late in his life, but Kingwell dresses Gould not with distinct characters but rather characteristics that further is thoughts on music as it is to him. He writes as though Gould would have agreed with him, as though Gould would have nodded his head appreciatively when read the manuscript. Kingwell says he never knew Gould, but nevertheless he writes as though Gould came to him in spirit and the two discussed musical aesthetics over arrowroot cookies and Perrier.
This is not a bad project by any means, and Kingwell is an extremely gifted intellectual, making cogent and impressively well-structured arguments as to why he thinks music is such and such. But as I read his work, I wondered if this would have been better off as a standalone piece and not linked to the Extraordinary Canadians series. I have not read any other book in the series, but I assume they are easy to consume for general audiences (as one review purports at the book's front). This one, well, isn't. Those with no firsthand experience in philosophy and philosophical literature will find this book an ordeal to read. Kingwell, for some unknown reason, doesn't lower himself to the level of the expected audience of this series. As mentioned before, the writing is lofty, technical, challenging. Kingwell brings up terms and philosophers as though he expects the reader to know what means what and who is who. It was frustrating even for me at times, although he does offer additional commentary in his sources. Nevertheless, there is a distancing effect created between author and audience, and while Kingwell is witty and amusing, the gap is never completely bridged.
In the end, I think I got what Gould was about, although in a frenzy of loose strands. He was an interesting, ingenius man, multi-talented and yet compacted with mystery and neuroses. If you are looking to read a conventional biography of Gould, however, then I think something more straightforward would be best. This could be used as a companion to any biography, albeit if the reader is willing to roll up their sleeves and enter philosophical terrain. Kingwell's aesthetic deconstructions are wonderful. They excite the brain cells and give them the best kind of nourishment. But the book's prime fault is that it has the slight odour of false advertising, a biography that is not really a biography in a series that one expects is about biographies. Kingwell's approach is unique, even model. I applaud him for doing something different. But I cannot ignore the general readership, and because I fear most won't "get" it, I can't really champion it to the rafters, either. But don't be afraid to pick this up if you're looking for a challenge and a little more clarity to the Gouldian enigma that still remains even thirty years after his life ended.
Read
February 24, 2015This is not a bad book if you'd like to know Mark Kingwell's thoughts on the philosophy of music. If you'd actually like to learn something about the life of Glenn Gould, you should look elsewhere.
November 17, 2009
OK, I was a little unfair with my last review. I've finished the book now, and I am not as upset at the author because I finally figured out what the book is about. It is NOT about Glenn Gould, despite what the cover of the book says.
This book is divided into 32 chapters, one for each movement of the Goldberg Variations, two of Gould's most famous recordings. Each chapter is an essay on the philosophy of art, in which Gould may play a major or minor role, depending on the theme of the chapter and the whim of the author. (This did not become clear to me until I flipped to the back and read the acknowledgements.) Once I understood the structure, I was able to settle in and enjoy the book and I stopped thinking nasty thoughts about the author.
However, I still think the book should be re-titled, something along the lines of "Mark Kingwells' Essays on the Philosophy of Art, With Occasional References to Glenn Gould."
Some of the material was way above my head as I have never taken a philosophy course in my life. Some of it was quite enjoyable.
This book is divided into 32 chapters, one for each movement of the Goldberg Variations, two of Gould's most famous recordings. Each chapter is an essay on the philosophy of art, in which Gould may play a major or minor role, depending on the theme of the chapter and the whim of the author. (This did not become clear to me until I flipped to the back and read the acknowledgements.) Once I understood the structure, I was able to settle in and enjoy the book and I stopped thinking nasty thoughts about the author.
However, I still think the book should be re-titled, something along the lines of "Mark Kingwells' Essays on the Philosophy of Art, With Occasional References to Glenn Gould."
Some of the material was way above my head as I have never taken a philosophy course in my life. Some of it was quite enjoyable.
January 17, 2019
I was expecting to learn about the life and times of Glenn Gould. I have read most of the books in the Extraordinary Canadians series, and the other titles delivered that. In this book, Mark Kingwell opts for a philosophical inquiry? Musing? on aspects of Gould’s career( occasionally) and more generally a reflection on various themes ( for example, the difference between talent and genius, or comparisons between Petula Clark vs the Beatles, or that hardy old subject, is Art dead?). All this might be interesting if you have a philosophical bent. But it was not what I was expecting from a title in this series of portraits of exceptional Canadians.
February 23, 2020
This is not a biography of Glenn Gould. This is a meandering, excessively wordy philosophy book that frequently mentions Gould's interviews, writings and recordings as a kind of proof of concept in regards to the author's philosophical ideas.
The problem is I don't care about Mark Kingwell's philosophical ideas, because I don't know who Mark Kingwell is, other than knowing he's a guy who somehow managed to get a philosophy book published under the guise of a biography of a man who's far more interesting than fucking Mark Kingwell. Do not be swindled by this book.
The problem is I don't care about Mark Kingwell's philosophical ideas, because I don't know who Mark Kingwell is, other than knowing he's a guy who somehow managed to get a philosophy book published under the guise of a biography of a man who's far more interesting than fucking Mark Kingwell. Do not be swindled by this book.
May 18, 2020
More philosophical than biographical but I liked that.
November 5, 2025
I am a University of Toronto graduate. This book was very hard to read, much less evaluate.
January 30, 2012
Less a biography of Gould than of the ideas that animated him, this book struggles against the constraints of the series format.
As a part of the Extraordinary Canadians series, Gould presents a challenge: much of the man’s genius—his “extraordinariness”—is deeply embedded within in the tradition of Western classical music, something outside the realm of most people’s familiarity. His accomplishments don’t fit into an accessible narrative of nation building or personal sacrifice, nor do they culminate in more tangible forms of genius (well-loved fiction, awe-inspiring hockey, iconic paintings, etc.). Gould’s genius is expressed within the esoteric field of musical interpretation, an intellectual realm that requires philosophical context. Accordingly, to contextualize Gould’s ideas Kingwell introduces questions such as, what is art? what is music? what is time? what is the self? Ambitious questions to be answering in 200 airily typeset pages, but presented because these were the questions Gould was exploring in extraordinary ways. The magnitude of this task, however, is what overwhelms the book. Kingwell’s presentation of the broader philosophical questions (rather than Gould’s responses) ends up being the focus. Gould often feels relegated to the background, the pretense for what Kingwell really wants to talk about. The effect is of one brilliant person reporting his conversation with another brilliant person, but with limited concern about what you, the reader, might think about it all.
The book abounds with interesting ideas and insights into Gould, but it’s distant. And this is a shame because there’s the part of Glenn Gould that is sold-out concerts, half-hour ovations, and astonishing record sales. Gould connected with audiences made up of all sorts of people. it’s really hard to see from Kingwell’s book how.
As a part of the Extraordinary Canadians series, Gould presents a challenge: much of the man’s genius—his “extraordinariness”—is deeply embedded within in the tradition of Western classical music, something outside the realm of most people’s familiarity. His accomplishments don’t fit into an accessible narrative of nation building or personal sacrifice, nor do they culminate in more tangible forms of genius (well-loved fiction, awe-inspiring hockey, iconic paintings, etc.). Gould’s genius is expressed within the esoteric field of musical interpretation, an intellectual realm that requires philosophical context. Accordingly, to contextualize Gould’s ideas Kingwell introduces questions such as, what is art? what is music? what is time? what is the self? Ambitious questions to be answering in 200 airily typeset pages, but presented because these were the questions Gould was exploring in extraordinary ways. The magnitude of this task, however, is what overwhelms the book. Kingwell’s presentation of the broader philosophical questions (rather than Gould’s responses) ends up being the focus. Gould often feels relegated to the background, the pretense for what Kingwell really wants to talk about. The effect is of one brilliant person reporting his conversation with another brilliant person, but with limited concern about what you, the reader, might think about it all.
The book abounds with interesting ideas and insights into Gould, but it’s distant. And this is a shame because there’s the part of Glenn Gould that is sold-out concerts, half-hour ovations, and astonishing record sales. Gould connected with audiences made up of all sorts of people. it’s really hard to see from Kingwell’s book how.
August 4, 2011
There is a comfort in cold, hard facts. Kingwell chooses to banish this method of biography writing to explore less tangible notions of Gould's existence and ideas. While this method is innovative, it is often exasperating as one idea jumps to another, hardly tangible and difficult to follow. (This might have been my own fault, seeing as I was forced to read it all in one sitting until 3AM. Wouldn't you let me renew this just once more, library?) There were some chapters that I found engaging and clear - 'Illness', 'Competition' - but in some others, I was totally lost. I found this to be more of an academic read than expected for a popular biography series. Unless you possess at least some background in music, philosophy, and English, this book may be hard to follow. Also, Kingwell calls Beethoven a romantic composer. No.
March 3, 2012
Out the series, this one was tied with Lucy Montgomery for my least favourite. For me, it was more a writing style issue. I felt Kingwell's style was choppy and that he tried to philosophically probe abstractions too much. I think you also need to know quite a bit about the philosophy and technical aspects of musical composition to truly appreciate some of the ponderings Kingwell develops. When I finish these biographies, I feel the author should leave me wanting to know more about the figure but in this case, I'm good thanks!
August 9, 2011
I read this book in the hopes of discovering a bit more about Gould's peculiar life but I didn't realize Kingwell's goal was to discuss the philosophy of music and art in general. When John Ralston Saul started the Penguin series on Extraordinary Canadians I don't think this result was what he had in mind. The book is not without merit; it's just not what I'd anticipated.
December 14, 2011
This entry in the "Extraordinary Canadians" series of short bios reads more like a Philosophy thesis than a biography of Glenn Gould. While alot of the author's pedantic philosophizing is actually quite interesting it, nevertheless, shifts focus from the supposed subject to the author. I can appreciate "fresh" approaches to biography writing but this is not it.
August 1, 2011
The author is an philsopher and art criticist. I always think that how can a person comment on an artist if he is not up to that standard?
Nevertheless, this book made me fall in love with Mr. Glenn Gould, he becomes my favourite solo pianist of all time :)
Nevertheless, this book made me fall in love with Mr. Glenn Gould, he becomes my favourite solo pianist of all time :)
May 25, 2013
Fantastic! I loved the lay-out and structure of this biography. What an interesting man!
Displaying 1 - 14 of 14 reviews