The Algerian sorceress brings Brathwaite a computer and teaches him how the internet’s unbounded nature turns word processors into sound processors. In doing so, she connects him to private and public memory, to the ecstatic spirits or lwa of Haiti’s syncretic religion vodou, and to the vastness of space. From the early 1990s onward, the poet experiments with margins, typeface, font size, and justifications. He also incorporates glyphs, at times heavily pixelated, of suns, moons, spiders, butterflies, boats, and human figures. These elements function as a method of transcription that helps readers listen and “make[s] sound visible.” Digital technologies are not a threat to former means of producing and consuming art. Rather, they create possibilities for recovering, preserving, and performing oral traditions.