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Glyn Maxwell, Alan Gillis, Ben Wilkinson on poetic voice, formal prowess, and strange times . . . Paul Farley took the pulse at the turn of our millennium when he quipped that contemporary poets haven’t had criticism, they’ve had marketing. In an age where marketing’s role in matters aesthetic is ever-increasing, the individual voice can be an overvalued commodity, playing to a perceived appetite for poet-as-author. It is refreshing, then, to encounter Glyn Maxwell’s How the Hell Are You, a collection of poems whose unfashionably complex play with poetic voice recognises and exploits the ultimate impersonality of writing – how it is only ever language that speaks, acts, and performs. But then Maxwell has always done his own thing, ever since he set the empty roundabout spinning in the first poem of his first collection, some thirty years ago. Formally dextrous, syntactically inventive, able to combine authentic emotion with self-reflexive dramatisation: for those in

United kingdomAlan gillisBen wilkinsonPaul farleyCiaran carsonDon patersonVera lynnGlyn maxwellHell are youHide nowBluebirds overFirst old book he readNorthern irishLike maxwellBlossom driftManchester arena