Nalo Hopkinson's Midnight Robber (2000), models technologies premised on the histories and beliefs of New World subjects either fetishized or voiceless in the majority of science fiction. Rather than imagining her highly advanced operating system to be run on written code, Hopkinson premises aurality as responsive to the technological development she predicts. The novel describes life on the planet of Toussaint, run by Granny Nanny, the sentient entity who manages her society via a tonal operating system, Nannysong. Technology in Midnight Robber reflects its location and population, descendents of "Taino Carib and Arawak; African, Asian; Indian; even the Euro." Hopkinson recounts that Granny Nanny was almost destroyed because she had advanced past previous computer languages and developed her own tonal operating code. Only a "calypsonian programmer" was able to detect her highly advanced semiotics. Granny Nanny's operating system thus reverses western hierarchies that construe the visual as more sophisticated than the oral. Her language facilitates complex systems of interaction, where a series of lesser articial intelligences (eshus) communicate with each family, providing (often unreliable) information and material necessities, including home and hearth. Eshus have access to Granny Nanny's databanks, through nannycode, and they reach their constituents via an earbug placed in each citizen's ear at birth. This orally connected community and its intricate communication system compliments Hopkinson's language-broadening poetics: she "hacks" language using both Trinidadian and Jamaican modes of expression and delivery and, accordingly, her characters hack their own oral languages. Nannysong both reflects the histories and practices of Hopkinson's characters and integrates language poetics with advanced electronic technologies.