48 pages • 1-hour read
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Noxious gases, primarily the firedamp and blackdamp that the characters experience, function as recurring motifs that symbolize invisible danger within What Stalks the Deep. As the group prepares to explore the mine, Ingold explains that firedamp is methane gas that “seeps out of the coal mine and rises,” noting that it is “completely odorless” and explosive (28). Blackdamp is described as “heavy,” with Ingold warning “‘You’d feel lightheaded and fatigued at first […] Then it hits a critical level and…” (59). These explanations rely on sensory language to establish the mine as inherently dangerous before any visible threats appear. The motif reinforces the atmosphere of danger, contributing to the horror aspects of the novella.
Fragment also incorporates the existence of the gases into his attempts at deception, first in the telegram explaining Oscar’s supposed illness and later when claiming that exposure to gases has rendered him unable to speak. In doing so, the gases become a plausible explanation for altered behavior.
The motif culminates when Easton deliberately ignites firedamp to destroy the remaining portion of the Sentry. What initially represents danger and deception becomes a tool of survival. Through this progression, the noxious gases symbolize danger and foreshadow the climax of the novella.
The decaying infrastructure Easton describes in their internal narration functions as a recurring motif that reinforces The Human Cost of Extractive Industry. As Easton travels toward Hollow Elk Mine, they notice the impacts of mining activity:
The landscape was spectacular, the hills covered in ranks of trees that blazed the colors of madness, all red and gold and an astonishing shade of pink. And then you’d hit a valley and suddenly everything would be stripped away, the trees toppled, the earth scarred with tracks and great scaffolds of machinery, billows of smoke rising from the pumps that kept the miners from suffocating or drowning or both. And next to that would be a ramshackle little town of a sort I’d seen before, the kind that is kept from being a slum by the sheer willpower of the people who live there (27).
The juxtaposition between areas of natural beauty and areas of mining activity establishes extraction as harmful to both the land and the community. The machinery that prevents miners from “suffocating or drowning” emphasizes the inherent danger of the mining industry, while the “ramshackle little town” suggests economic vulnerability.
The motif recurs when Easton and the others arrive at Hollow Elk Mine. The buildings surrounding the mine have been abandoned and left to deteriorate following the closure of the mine. The empty buildings and dilapidation reflect abandonment once the mine was no longer profitable. A similar pattern appears in the shacks outside Flatwood where Elijah and Roger live. Easton describes the town as “the remains of a company town from another failed mining venture,” where “everything of use to the company had been stripped out, leaving dozens of small, weathered buildings that leaned together at odd angles, as if for warmth” (47). The phrasing emphasizes extraction followed by abandonment.
Through these repeated images of abandoned buildings and struggling towns, the motif of decaying infrastructure demonstrates the long-term instability created by extractive industry. However, characters such as Elijah underscore community resilience, positioning connection as a stabilizing force within the exploited environment.
The spiral tunnel and unexpected claustrophobia externalize Easton’s psychological state. Early in the novel, Easton narrates, “I have never thought of myself as claustrophobic. It hadn’t occurred to me that maybe I just had never been required to test that” (15). As they continue to reenter and explore the mine, Easton tries to fight this sense of constriction—"I reminded myself firmly that I was not claustrophobic” (36), and later, “I reminded myself just how claustrophobic I wasn’t and followed” (62). This repetition, while sardonic, conveys Easton’s desire to overcome their rising anxiety.
The spiral tunnel functions in tandem with Easton’s claustrophobia. When Easton first descends through the tunnel, they note sensations of compression and dizziness, and the experience triggers catastrophic thinking: “we would both be trapped and we’d die in here and no one would ever find our bodies” (99). The spiral structure of the tunnel symbolizes Easton’s spiraling thoughts in this moment.
Both the spiral tunnel and Easton’s claustrophobia stem from How Trauma Shapes Threat Perception. Easton’s prior experiences in war and facing other supernatural dangers have predisposed them to anticipate worst-case scenarios. By embedding Easton’s catastrophic thinking within these motifs, the novella emphasizes how one’s environment can trigger trauma-informed responses.



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