本文分析駱以軍作品中的空間性，其被以一種至為奇特的光影形式重構為各式夢境或事件場域。透過對駱以軍根莖式書寫的離析，本文試圖切入這個到目前為止由八部作品所錯綜盤構的複調空間之中，試著去呈顯由此書寫多樣性所曾呈顯的獨特動、靜、快、慢。 透過碎裂的故事、錯接的敘述、根莖式串連、迷宮般文字、皺褶中的光線，駱以軍最終迫出一種在某一光線政權下僅見的空間性，一種因特異的文字運動所促使可見的不可見空間。解讀駱以軍的小說成為一門獨特的冏間考古學，一種關於既存虛擬空間（臺北，或故事場景，或二者根本是同一回事）的探究。

This essay attempts to analyze the spatiality in Yi-Chun Lo’s fiction which is reconstructed by a singular form of light into various planes of dreams or events. Thought a close examination of Yi-Chun Lo’s rhizomatic writing, this essay tries to go deep into this multi-tonic space which has been, so far, constructed by his eight novels. We hope to demonstrate what has been revealed by this multiplicity of writing: it singular dynamique, stasis, rapidness and slowness. With fragmented storyline, misconnected narration, rhizomatic correlation, labyrinthic texture, light between folds, Yi-Chun L’s writing compels finally the revelation of a spatiality which is visible only under a specific regime of light, or an invisible space becoming perceptible thanks to an exocentric verbal movement. Reading Yi-Chun Lo’s fiction turns to be a particular archaeology of space, an inquiry into the virtual space Taipei, fiction’s setting, or maybe they are just the same thing.