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...term used so often to praise Naipaul's journalism is that it is "prophetic"?that he saw in the 1960s and '70s, before anyone else did, that a series of crises was about to hit Africa and India; then in the 1980s and '90s he saw that trouble was brewing in the Islamic world. Naipaul's journalism of crisis was engaged most profoundly with India. On his first visit there, in 1962, Naipaul found the country "an endless repetition of exhaustion and decay." When he came back to India in 1967, he wrote: "The absurdity of India can be total...
...true that India was in trouble in the '60s and '70s. But a prophet?or even a man engaged in standard, well-balanced journalism?might also have observed significant flashes of hope: that India was opening engineering colleges that would soon become the world's best, that it was solving its food-shortage problems, that it was even launching a space program. Its free press and parliamentary system?far from having collapsed, as Naipaul said?re-emerged triumphantly in 1977, when democracy was re-established. Yet Naipaul, who is praised for seeing things so clearly, saw none of India...
...with a spot on The Ed Sullivan Show in 1967. To avoid going on the road and leaving his kids, he borrowed money and opened his own club, Dangerfield's, in New York City. His tie-tugging tics and depressive one-liners became a staple on TV in the '70s and '80s; and as a late-blooming movie star in films like Caddyshack and Back to School, he made his old-style comedy seem eternally young. --By Richard Zoglin
...certainly wasn't alone in this. Many of my contemporaries at Xerox's Palo Alto Research Center (PARC) and M.I.T.'s Lincoln Laboratory in the '70s and '80s can tell similar stories. My point is not to boast about our exploits but to point out that most of what passes for new at any given time has in fact been around for quite a while. Or, to steal a line from the science-fiction writer William Gibson, "The future is already here. It is just not uniformly distributed...
...museum with galleries large enough to accommodate supersize work, like Richard Serra's massive steel sculptures, MOMA's new piece by Gordon Matta-Clark that consists of a large section cut from an entire house and the room-size installations that became more common in the '70s and after. The danger of so vast an expansion, of course, was that MOMA would itself become economy size, an alienating blimp hangar. "The most cherished dimension of the old museum was its sense of intimacy," says Glenn Lowry, MOMA's director. "When we began laying out the new building...