Quotes from James P. Carse

What the winner of a finite game wins is a title. A title is the acknowledgment of others that one has been the winner of a particular game. I cannot entitle myself. Titles are theatrical, requiring an audience to bestow and respect them.

The purpose of property is to make our titles visible. Property is emblematic. It recalls to others those areas in which our victories are beyond challenge.

Our freedom in relation to nature is not the freedom to change nature; it is not the possession of power over natural phenomena. It is the freedom to change ourselves. We are perfectly free to design a culture that will turn on the awareness that vitality cannot be given but only found, that the given patterns of spontaneity in nature are not only to be respected, but to be celebrated.

At its root all language has the character of metaphor, because no matter what it intends to be about it remains language, and remains absolutely unlike whatever it is about. This means that we can never have the falcon, only the word "falcon." To say that we have the falcon, and not the "falcon," is to presume again that we know precisely what it is we have, that we can see it in its entirety, and that we can speak as nature itself.

Infinite speakers are Plato's poietai taking their place in the historical. Storytellers enter the historical not when their speaking is full of anecdotes about actual persons, or when they appear as characters in their own tales, but when in their speaking we begin to see the narrative character of our lives. The stories they tell touch us. What we thought was an accidental sequence of experiences suddenly takes the dramatic shape of unresolved narrative.

The unspeakability of nature is the very possibility of language.

The physicists who look at their objects within their limitations teach physics; those who see the limitations they place around their objects teach "physics." For them physics is a poiesis.

Strictly speaking, waste persons do not exist outside the boundaries of a society. They are not society's enemies. One does not go to war against them, as one goes to war against another society. Waste persons do not constitute an alternative or threatening society; they constitute an unveiling culture. They are therefore "purged". A society cleanses itself of them.

Immortality is therefore the supreme example of the contradictoriness of finite play: It is a life one cannot live.

infinite players offer their death as a way of continuing the play. For that reason they do not play for their own life; they live for their own play. But since that play is always with others, it is evident that infinite players both live and die for the continuing life of others.

When society is unveiled, when we see that it is whatever we want it to be, that it is a species of culture with nothing necessary in it, by no means a phenomenon of nature or a manifestation of instinct, nature is no longer shaped and fitted into one or another set of societal goals. Unveiled, we stand before a nature whose only face is its hidden self-origination: its genius.

If the silence of nature is the possibility of language, language is the possibility of history.

We see nature as genius when we see as genius.

True parents do not see to it that their children grow in a particular way, according to a preferred pattern or scripted stages, but they see to it that they grow with their children. The character of one's parenting, if it is genuinely dramatic, must be constantly altered from within as the children change from within. So, too, with teaching, or working with, or loving each other.

True conversions consist in the choice of a new audience, that is, of a new world. All that was once familiar is now seen in startlingly new ways.

We understand nature as source when we understand ourselves as source. We abandon all attempts at an explanation of nature when we see that we cannot be explained, when our own self-origination cannot be stated as fact. We behold the irreducible otherness of nature when we behold ourselves as its other.

For the infinite player, seeing as genius, nature is the absolutely unlike. The infinite player recognizes nothing on the face of nature. Nature displays not only its indifference to human existence but its difference as well.

Solo ciò che cambia può continuare.

But responsibility for the garden does not mean that we can make a garden of nature, as though it were a poiema of which we could take possession. A garden is not something we have, over which we stand as gods. A garden is a poiesis, a receptivity to variety, a vision of differences that leads always to a making of differences. The poet joyously suffers the unlike, reduces nothing, explains nothing, possesses nothing.

We can love only what cannot be fully recognized, what cannot yield its mysteries to thought

We stand before genius in silence. We cannot speak it, we can only speak as it. Yet, though I speak as genius, I cannot speak for genius. I cannot give nature a voice in my script. I can not give others a voice in my script-without denying their own source, their originality. To do so is to cease responding to the other, to cease being responsible. No one and nothing belong in my script.

I am the genius of myself,the poietes who composes the sentences I speak and the actions I take. It is I, not the mind,that thinks. It is I, not the will, that acts. It is I, not the nervous system, that feels.

The homelessness of nature, its utter indifference to human existence, disclose to the infinite player that nature is the genius of the dramatic.

But what resounds most deeply in the life of Copernicus is the journey that made knowledge possible and not the knowledge that made the journey successful.