Enactments, elaborations: at the beginning, we have an occurrence and two repetitions of that occurrence.
Firstly, and dominantly, the sense of imprisonment in a dark place, which has to be the womb, the Nativity. Here, the mother is not well-defined. She is present only because she need be, certainly this need not be a Freudian adventure.
Secondly, the dark coal bunker, the anthracite as an uncomfortable knobbled seat on which to ponder your sins: to go through stages of anger, irritation, contrition, the idea of taking one in the chest for Expiation. Then consider running away from home, which here would mean becoming a kobold, mining away at the ores of the earth, and so escaping downwards.
Thirdly, down in the engine room of the Gallia Princess, signing on as a 15-year-old crew member on a tramp steamer bearing Welsh coal to the Indies, West or East. The apprentice stoker, needing to gulp down foodstuffs himself, builds musculature rapidly to cope with the conditions.
Working in the pit to feed the insatiable engines.
The tramp steamer, carrying coal, burns its own coal; therefore, it is moved by its own cargo, which strongly hints at recursion. Its purpose fulfilled by commencing its purpose.
Recursion, the call to a function that calls itself.
A process in which the function being defined is applied within its own definition. A corkscrewing into self, signalling depth, profundity, understanding.
Versus propagation, which sings of increase, growth — even — life.
These suitcases represent the world according to Tulse Luper.