He now wanted nothing more than to get away as quickly as possibel. [sic]
[This is quoted from the 1989 reprint of a famous poetry/fiction/drama collection first published by Faber & Faber in 1967. Hints are found elsewhere . . .]
. . . the potential, the possibility . . . for transformation, be that garbled, or beautiful . . . a middle-aged man’s fear of poetics whilst at the same time his desire for it . . . or rather his need . . . this apparently prosaic line about wanting to get away . . . ‘get’, as in to acquire, and ‘away’ that could so easily be typo-ed as: ‘a way’ . . . this apparently prosaic line with its reference to ‘nothing’ & ‘more’ (these words abutting against or leaning into each other) . . . and the adverbially camouflaged word ‘quick’ . . . a living thing . . . the tender or sensitive flesh in part of the body . . . living semblance . . . that line, that sentence with its correct grammar . . . it ends with that misspelled word — ‘possibel’ — this is where the prosaic surface ‘code’ breaks . . . open . . . perhaps only a slight crack in the rock, but that is all the hydrogen bonds of Poetry’s frost crystals need for leverage before all . . . goes awry, or perhaps just goes . . . elsewhere . . . for in poetics what is ‘possibel’, not what is certain, is the driver . . .
Acknowledgement: The Ewe Stone is driven by and draws from writing by Ted Hughes.