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Knowing the future has been a major concern for all civilizations
Knowing the future has been a major concern for all civilizations
Fabien Goubet and Florian Delafoi

GENEVA — One day last October, during the morning talk show on Swiss state broadcaster RTS, still groggy viewers were brutally awakened by a sentence dropped live on-air: "Schools train children who will be decimated by artificial intelligence." The voice that dragged them out of their reverie belonged to a French doctor and entrepreneur named Laurent Alexandre. His words hit their mark, so much so that the video clip instantly went viral on social media.

Laurent Alexandre doesn't have a monopoly on snappy sentences. "Humanity will change more in the next 20 years than in the previous 300." This prediction is trademarked by Gerd Leonhard, one of Europe's leading thinkers of the future. The website of this Zurich-based German thinker is worth its weight in divinatory herbs. In the background, a video plays on a loop, showing the spry 50-year-old in a dark suit with a sly smile and wavy gray hair. Leonhard's face turns in slow motion towards the horizon, his gaze plunged serenely towards the future. A yellow sticker that reads "Top 100 Wired" reminds us that Leonhard is among the world's most influential personalities on innovation. Visitors are then invited to "futurize their business', in other words, hire Gerd's services for a conference.

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Ideas

García Márquez And Truth: How Journalism Fed The Novelist's Fantasy

In his early journalistic writings, the Colombian novelist Gabriel García Márquez showed he had an eye for factual details, in which he found the absurdity and 'magic' that would in time be the stuff and style of his fiction.

Colombian novelist Gabriel Garcia Marquez reads his book

J. D. Torres Duarte

BOGOTÁ — In short stories written in the 1940s and early 50s and later compiled in Eyes of a Blue Dog, the late Gabriel García Márquez, Colombia's Nobel Prize-winning novelist, shows he is as yet a young writer, with a style and subjects that can be atypical.

Stylistically, García Márquez came into his own in the celebrated One Hundred Years of Solitude. Until then both his style and substance took an erratic course: touching the brevity of film scripts in Nobody Writes to the Colonel, technical experimentation in Leaf Storm, the anecdotal short novel in In Evil Hour or exploring politics in Big Mama's Funeral. Throughout, the skills he displayed were rather of a precocious juggler.

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