James P. Carse Quotes

Myths, told for their own sake, are not stories that have meanings, but stories that give meanings.

Because infinite players prepare themselves to be surprised by the future, they play in complete openness. It is not an openness as in candor, but an openness as in vulnerability. It is not a matter of exposing one's unchanging identity, the true self that has always been, but a way of exposing one's ceaseless growth, the dynamic self that has yet to be.

Finite games can be played within an infinite game, but an infinite game cannot be played within a finite game.

Infinite players die. Since the boundaries of death are always part of the play, the infinite player does not die at the end of the play, but in the course of play.

It is with this thought that many believers would call up Kierkegaard's famous phrase, the 'leap of faith,' pictured perhaps as a leap from here to there, leaving out the in-between... What is usually overlooked, however, is that Kierkegaard said nothing about a safe landing; there was only the leap, and no guarantee of solid ground beyond it.

Moving therefore from an original center, the sexual engagements of infinite players have no standards, no ideals, no marks of success or failure. Neither orgasm nor conception is a goal in their play, although either may be part of the play.

Plato suggested that some of the poets be driven out of the Republic because they had the power to weaken the guardians. Poets can make it impossible to have a war-unless they tell stories that agree with the "general line" established by the state. Poets who have no metaphysics, and therefore no political line, make war impossible because they have the irresistible ability to show the guardians that what seems necessary is only possible.

To operate a machine one must operate like a machine. Using a machine to do what we cannot do, we find we must do what the machine does.

Since machinery requires force from without, its use always requires a search for consumable power. When we think of nature as resource, it is as a resource for power. As we preoccupy ourselves with machinery, nature is increasingly thought of as a reservoir of needed substances. It is a quantity of materials that exist to be consumed, chiefly in our machines.

The fact that the technology of slaughter at vast distances has become extremely sophisticated does not culturally advance its highly trained operators over club-swinging primitives; it makes complete the blindness that was but rudimentary in the primitive. It is the supreme triumph of resentment over vision. We are the unseeing killing the unseen.

Since a flourishing society will vigorously exploit its natural resources, it will produce correspondingly great quantities of trash, and quickly its uninhabited lands will overflow with waste, threatening to make the society's own habitation into a wasteland.

A slave can have life only by giving it away. "He who loves his life loses it, and he who hates his life in this world will keep it for eternal life." (Jesus)

The strategy of infinite players is horizontal. They do not go to meet putative enemies with power and violence, but with poiesis and vision. They invite them to become a people in passage. Infinite players do not rise to meet arms with arms; instead, they make use of laughter, vision, and surprise to engage the state and put its boundaries back into play.

Nature is the realm of the unspeakable. It has no voice of its own, and nothing to say. We experience the unspeakability of nature as its utter indifference to human culture.

I am not strong because I can force others to do what I wish as a result of my play with them, but because I can allow them to do what they wish in the course of my play with them. 30

So also in culture. Infinite players understand that the vigor of a culture has to do with the variety of its sources, the differences within itself. The unique and the surprising are not suppressed in some persons for the strength of others. The genius in you stimulates the genius in me.

Just as Alexander wept upon learning he had no more enemies to conquer, finite players come to rue their victories unless they see them quickly challenged by new danger. A war fought to end all wars, in the strategy of finite play, only breeds universal warfare.

To be prepared against surprise is to be trained. To be prepared for surprise is to be educated.

Victories occur in time, but the titles won in them are timeless. Titles neither age nor die.

In the complex plotting of sexual encounter it is by no means uncommon for the partners to have played a double game in which each is winner and loser, and each is an emblem for the other's seductive power.

Gardeners slaughter no animals. They kill nothing. Fruits, seeds, vegetables, nuts, grains, grasses, roots, flowers, herbs, berries-all are collected when they have ripened, and when their collection is in the interest of the garden's heightened and continued vitality. Harvesting respects a source, leaves it unexploited, suffers it to be as it is.

The strategy of finite players is to kill a state by killing the people who invented it. Infinite players, however, understanding war to be a conflict between states, conclude that states can have only states as enemies; they cannot have persons as enemies. "Sometimes it is possible to kill a state without killing a single one of its members; and war gives no right which is not necessary to the gaining of its object" (Rousseau). For infinite players, if it is possible to wage a war without killing a single person, then it is possible to wage war only without killing a single person.

What one wins in a finite game is a title. A title is the acknowledgment of others that one has been the winner of a particular game. Titles are public. They are for others to notice. I expect others to address me according to my titles, but I do not address myself with them-unless, of course, I address myself as an other. The effectiveness of a title depends on its visibility, its noticeability to others.

A powerful person is one who brings the past to an outcome, settling all its unresolved issues. A strong person is one who carries the past into the future, showing that none of its issues is capable of resolution. Power is concerned with what has already happened; strength with what has yet to happen. Power is finite in amount. Strength cannot be measured, because it is an opening and not a closing act. Power refers to the freedom persons have within limits, strength to the freedom persons have with limits.

To be playful is not to be trivial or frivolous, or to act as if nothing of consequence will happen. On the contrary, when we are playful ... everything that happens is of consequence, for seriousness is a dread of the unpredictable outcome of open possibility. To be serious is to press for a specified conclusion. To be playful is to allow for unlimited possibility.

Genuine travelers travel not to overcome distance but to discover distance. It is not distance that makes travel necessary, but travel that makes distance possible. Distance is not determined by the measurable length between objects, but by the actual differences between them. The motels around the airports in Chicago and Atlanta are so little different from the motels around the airports of Tokyo and Frankfurt that all essential distances dissolve in likeness. What is truly separated is distinct; it is unlike. "The only true voyage would be not to travel through a hundred different lands with the same pair of eyes, but to see the same land through a hundred different pairs of eyes" (Proust).

We are playful when we engage others at the level of choice, when there is no telling in advance where our relationship with them will come out
when, in fact, no one has an outcome to be imposed on the relationship, apart from the decision to continue it.

True poets lead no one unawares. It is nothing other than awareness that poets-that is, creators of all sorts-seek. They do not display their art so as to make it appear real; they display the real in a way that reveals it to be art.

Finite players play within boundaries; infinite players play with boundaries.

Only that which can change can continue.

Titles are public. They are for others to notice. I expect others to address me according to my titles, but I do not address myself with them
unless, of course, I address myself as an other.

Because horizon is the end of vision, and because every move we make gives the field an aspect we couldn't have noticed before, what lies beyond the horizon cannot be known. (Otherwise it would be within the horizon.) As with the angelic messenger, there is no control over what comes into our vision... There are experiences and new information that will show the familiar as strange the comforting as dangerous, the adjacent as distant. Moreover, not every shift of the viewer will reveal something significant. It can be just more of the same, or nothing worth reflecting on. And yet without that shift, we begin to lose our vision altogether: what is seen over and over again ceases to be seen. What doesn't appear in a fresh way will be thought changeless and ordinary, no longer a stimulus to thought. Learning is reduced to mere repetition and can only confirm what has already been known. Friendships become static, empty of expectations of the future. The outcome of all our efforts become predictable. All mysteries can be explained. All dimensions and measurements hold. To be aware of our horizons is to live in wonder.

Our first response to hearing a story is the desire to tell it ourselves-the greater the story the greater the desire. We will go to considerable time and inconvenience to arrange a situation for its retelling. It is as though the story is itself seeking the occasion for its recurrence, making use of us as its agents. We do not go out searching for stories for ourselves; it is rather the stories that have found us for themselves.

Life in death concerns those who are titled and whose titles, since they are timeless, may not be extinguished by death. Immortality, in this case, is not a reward but the condition necessary to the possession of rewards. Victors live forever not because their souls are unaffected by death but because their titles must not be forgotten.

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.

Because it is address, attending always on the response of the addressed, infinite speech has the form of listening. Infinite speech does not end in the obedient silence of the hearer, but continues by way of the attentive silence of the speaker. It is not a silence into which speech has died, but a silence from which speech is born.

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.

I can explain nothing to you unless I first draw your attention to patent inadequacies in your knowledge; discontinuities in the relations between objects, or the presence of anomalies you cannot account for by any of the laws known to you. You will remain deaf to my explanations until you suspect yourself of falsehood.

What I have experienced, and experienced repeatedly, is the silence of God. For many years, this was a distressing matter for me. I did not consider it an experience, but the absence of an experience.

The finite play for life is serious; the infinite play of life is joyous.

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.

Waste is unveiling, because it persists in showing itself as waste, and as our waste. If waste is the result of our indifference to nature, it is also the way we experience the indifference of nature. Waste is therefore a reminder that society is a species of culture. Looking about at the wasteland into which we have converted our habitation, we can plainly see that nature is not whatever we want it to be; but we can also plainly see that society is only what we want it to be.

If nature is the realm of the unspeakable, history is the realm of the speakable. Indeed, no speaking is possible that is not itself historical. Students of history, like students of nature, often believe they can find unbiased, direct views of events. They look in on the lives of others, noting the multitude of ways those lives have been limited by the age in which they were lived. But no one can look in on an age, even if it is one's own age, without looking out of an age as well. There is no refuge outside history for such viewers, any more than there is a vantage outside nature.

The Bible ... provides no guide to reading the Bible. In fact, it is full of such inconsistencies, contradictions, lacunae, obscurities, baffling tales, and poetic imagery that to quote it at all is to select from conflicting alternative passages. Every quotation is therefore necessarily an interpretation.

A finite game is played for the purpose of winning, an infinite game for the purpose of continuing the play.

What the winners of finite games achieve is not properly an afterlife but an afterworld, not continuing existence but continuing recognition of their titles.

Infinite speakers do not give voice to another, but receive it from another. Infinite speakers do not therefore appeal to a world as audience, do not speak before a world, but present themselves as an audience by way of talking with others. Finite speech informs another about the world-for the sake of being heard. Infinite speech forms a world about the other-for the sake of listening.

It is a highly valued function of society to prevent changes in the rules of the many games it embraces ... Deviancy, however, is the very essence of culture. Whoever merely follows the script, merely repeating the past, is culturally impoverished. There are variations in the quality of deviation; not all divergence from the past is culturally significant. Any attempt to vary from the past in such a way as to cut the past off, causing it to be forgotten, has little cultural importance. Greater significance attaches to those variations that bring the tradition into view in a new way, allowing the familiar to be seen as unfamiliar, as requiring a new appraisal of all that we have been- and therefore all that we are. Cultural deviation does not return us to the past, but continues what was begun but not finished in the past ... Properly speaking, a culture does not have a tradition; it is a tradition.

Certain machines of extraordinary complexity have been built: spacecraft, for example, that sustain themselves for months in the void while performing complicated functions with great accuracy. But no machine has been made, nor can one be made, that has the source of its spontaneity within itself. A machine must be designed, constructed, and fueled.

This is a contradiction to all finite play. Because the purpose of a finite game is to bring play to an end with the victory of one of the players, each finite game is played to end itself. The contradiction is precisely that all finite play is play against itself.

War presents itself as necessary for self-protection, when in fact it is necessary for self-identification.

If, however, the observers see the poiesis in the work they cease at once being observers. They find themselves in its time, aware that it remains unfinished, aware that their reading of the poetry is itself poetry. Infected then by the genius of the artist they recover their own genius, becoming beginners with nothing but possibility ahead of them.

In an encounter with divine reality, we do not hear a voice but acquire a voice, and the voice we acquire is our own.

If to look is to look at what is contained within its limitations, to see is to see the limitations themselves. Each new school of painting is new not because ti now contains subject matter ignored in earlier work, but because it sees the limitations previous artists imposed on their subject matter but could not see themselves. The earlier artists worked within the outlines they imagined; the later reworked their imaginations.

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.