Thomas L. Friedman is not so much a futurist, which he is sometimes called, as a presentist. His aim in The World Is Flat, as in his earlier, influential Lexus and the Olive Tree, is not to give you a speculative preview of the wonders that are sure to come in your lifetime, but rather to get you caught up on the wonders that are already here. The world isn't going to be flat, it is flat, which gives Friedman's breathless narrative much of its urgency, and which also saves it from the Epcot-style polyester sheen that futurists—the optimistic ones at least—are inevitably prey to.
What Friedman means by 'flat' is 'connected': the lowering of trade and political barriers and the exponential technical advances of the digital revolution that have made it possible to do business, or...