Moving with nomadic grace across the terrain of his previous book, Decompositions, the poetic language of Ken Belford in Internodes shares similar roots, traversing decades at the speed of a search query - pressing onward through Hazelton, the Bulkley Valley, and the unroaded headwaters of the Nass River in the Damdochax Valley - and meanwhile coming to terms with a poetry that "is lived" on the rugged streets of Prince George. In this twenty-first-century evolution, and one may say "mutation," of Marshall McLuhan's oft-repeated adage that "the medium is the ­message," Belford's text takes into account the nature of viral marketing and the impact of similar forms of social "trending" on our lives and our language, challenging linearity and order in favour of a work that may be read forward or backward or experienced with an abrupt sense of intimacy, in media res.Whether reflecting upon the internodal segment that is a vital part of a nerve cell; upon the relationship between the nodes and internodes of a plant stem; or upon the internode merely as an interstice of jargon amid connections we forge through high-speed telecommunication and wireless networks, the text invites the reader to make an informed ­decision before inviting others to "Like," to "Favourite," or to otherwise invest their social currency in Internodes. In addition to perceiving the poem as the "means of transmission" over time, Belford's poetic lines welcome readership as a form of collaborative action and agency in an age of crowdsourcing and flash mobs - and also as a form of ongoing social process that is sensitive to the life and demise of many of the decision trees that ultimately nourish our wavering notions of the future.