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Best Famous Liquorice Poems

Here is a collection of the all-time best famous Liquorice poems. This is a select list of the best famous Liquorice poetry. Reading, writing, and enjoying famous Liquorice poetry (as well as classical and contemporary poems) is a great past time. These top poems are the best examples of liquorice poems.

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Written by Pam Ayres | Create an image from this poem

Oh, I wish I’d looked after me teeth

Oh, I wish I’d looked after me teeth,
And spotted the dangers beneath
All the toffees I chewed,
And the sweet sticky food.
Oh, I wish I’d looked after me teeth.

I wish I’d been that much more willin’
When I had more tooth there than fillin’
To give up gobstoppers,
From respect to me choppers,
And to buy something else with me shillin’.

When I think of the lollies I licked
And the liquorice allsorts I picked,
Sherbet dabs, big and little,
All that hard peanut brittle,
My conscience gets horribly pricked.

My mother, she told me no end,
‘If you got a tooth, you got a friend.’
I was young then, and careless,
My toothbrush was hairless,
I never had much time to spend.

Oh I showed them the toothpaste all right,
I flashed it about late at night,
But up-and-down brushin’
And pokin’ and fussin’
Didn’t seem worth the time – I could bite!

If I’d known I was paving the way
To cavities, caps and decay,
The murder of fillin’s,
Injections and drillin’s,
I’d have thrown all me sherbet away.

So I lie in the old dentist’s chair,
And I gaze up his nose in despair,
And his drill it do whine
In these molars of mine.
‘Two amalgam,’ he’ll say, ‘for in there.’

How I laughed at my mother’s false teeth,
As they foamed in the waters beneath.
But now comes the reckonin’
It’s methey are beckonin’
Oh, I wish I’d looked after me teeth.

Taken from the The Works: The Classic Collection 2008.

© Pam Ayres 2012
Official Website
http://pamayres.com/


Written by Paul Muldoon | Create an image from this poem

Cows

 Even as we speak, there's a smoker's cough
from behind the whitethorn hedge: we stop dead in our tracks;
a distant tingle of water into a trough.

In the past half-hour—since a cattle truck
all but sent us shuffling off this mortal coil—
we've consoled ourselves with the dregs

of a bottle of Redbreast. Had Hawthorne been a Gael,
I insist, the scarlet A on Hester Prynne
would have stood for "Alcohol."

This must be the same truck whose taillights burn
so dimly, as if caked with dirt,
three or four hundred yards along the boreen

(a diminutive form of the Gaelic bóthar, "a road,"
from bó, "a cow," and thar
meaning, in this case, something like "athwart,"

"boreen" has entered English "through the air"
despite the protestations of the O.E.D.):
why, though, should one taillight flash and flare

then flicker-fade
to an afterimage of tourmaline
set in a dark part-jet, part-jasper or -jade?

That smoker's cough again: it triggers off from drumlin
to drumlin an emphysemantiphon
of cows. They hoist themselves onto their trampoline

and steady themselves and straight away divine
water in some far-flung spot
to which they then gravely incline. This is no Devon

cow-coterie, by the way, whey-faced, with Spode
hooves and horns: nor are they the metaphysicattle of Japan
that have merely to anticipate

scoring a bull's-eye and, lo, it happens;
these are earth-flesh, earth-blood, salt of the earth,
whose talismans are their own jawbones

buried under threshold and hearth.
For though they trace themselves to the kith and kine
that presided over the birth

of Christ (so carry their calves a full nine
months and boast liquorice
cachous on their tongues), they belong more to the line

that's tramped these cwms and corries
since Cuchulainn tramped Aoife.
Again the flash. Again the fade. However I might allegorize

some oscaraboscarabinary bevy
of cattle there's no getting round this cattle truck,
one light on the blink, laden with what? Microwaves? Hi-fis?

Oscaraboscarabinary: a twin, entwined, a tree, a Tuareg;
a double dung-beetle; a plain
and simple hi-firing party; an off-the-back-of-a-lorry drogue?

Enough of Colette and Céline, Céline and Paul Celan:
enough of whether Nabokov
taught at Wellesley or Wesleyan.

Now let us talk of slaughter and the slain,
the helicopter gunship, the mighty Kalashnikov:
let's rest for a while in a place where a cow has lain.
Written by John Lindley | Create an image from this poem

Darkies

 “I’d rather make $700 a week playing a maid than earn $7 a day being a maid”. Hattie McDaniel.

I’m the savage in the jungle
and the busboy in the town.
I’m the one who jumps the highest 
when the Boss man comes around.

I’m the maid who wields the wooden broom.
I’m the black boot polish cheeks.
I’m the big fat Lawdy Mama
who always laughs before she speaks.

I’m the plaintive sound of spirituals
on the mighty Mississip’.
I’m the porter in the club car
touching forelock for a tip.

I’m the bent, white-whiskered ol’ Black Joe 
with the stick and staggered walk.
I’m the barefoot boy in dungarees
with a stammer in my talk.

I’m the storytelling Mr. Bones
with a jangling tambourine.
I’m the North’s excuse for novelty
and the South’s deleted scene.

I’m the one who takes his lunch break
with the extras and the grips.
I’m the funny liquorice coils of hair
and the funny looking lips.

I’m the white wide eyes and pearly teeth.
I’m the jet black skin that shines.
I’m the soft-shoe shuffling Uncle Tom
for your nickels and your dimes.

I’m the Alabami Mammy
for a state I’ve never seen.
I’m the bona fide Minstrel Man
whose blackface won’t wash clean.

I’m the banjo playing Sambo
with a fixed and manic grin.
I’m the South’s defiant answer
that the Yankees didn’t win.


I’m the inconvenient nigrah
that no one can let go.
I’m the cutesy picaninny
with my hair tied up in bows.

I’m the funny little shoeshine boy.
I’m the convict on the run;
the ****** in the woodpile 
when the cotton pickin’s done.

I’m a blacklist in Kentucky.
I’m the night when hound dogs bay.
I’m the cut-price, easy light relief
growing darker by the day.

I’m the “yessir, Massa, right away”
that the audience so enjoys.
I’m the full-grown man of twenty-five
but still they call me ‘boy’.

For I’m the myth in Griffith’s movie.
I’m the steamboat whistle’s cry.
I’m the dust of dead plantations
and the proof of Lincoln’s lie.

I’m the skin upon the leg iron.
I’m the blood upon the club.
I’m the deep black stain you can’t erase
no matter how you scrub.



 John Lindley

Book: Reflection on the Important Things