Snow
The imagery of snow is prevalent in the story. Such imagery begins with Gerard walking home in the snow and contemplating its nature, and as the story progresses, the snow also intensifies, culminating in a blizzard that lasts for the majority of the narrative. It lands in Laurel's eyelashes and serves as a plot device that doubles as a symbol of Gerard's view of the rest of the world.
Streetlights
The streetlights (and other lights) penetrate through the snowfall, acting as bulwarks of stability in a world of unclear visions. Near the end, the only lights Gerard sees are the glow of the streetlights and the headlights of a few scattered cars, representing the few points of description and solid specificity in the great unknown.
Water
Water seems to represent a nebulous view of something beyond death. At the beginning, there is a description of every sidewalk disappearing "under a pool of gray ice water" (pg 1), possibly representing the unknown at the end of life. At the end of the story, there is also mention of water; when Gerard thinks of Issy's death and the flames at her cremation, he suddenly feels like water drips down his back. He feels like there's something beyond his comprehension, but it won't take form until he reaches it.
Candles
Following the light imagery as representing objects of solidity and hope in the eternal struggle against the blizzard of nothingness, candles come to represent such specific objects that concern romantic or erotic experiences. For example, Gerard makes a note about the candles in the flashback to his first interaction with Laurel, saying that the candles made the women's beautiful bare shoulders glisten. Later, when he and Laurel "make love," the first thing he notices about her apartment is that it smells of expensive scented candles.
