This paper explores the ontological implications of the "room" imagery in Maurice Blanchard's literature, pointing out that "room" is not only a reflection of Blanchard's living room, but also a combination of spatial experience in literature, with ontological implications. The article is based on Heidegger's "Being and Time" and analyzes how Blanchard rediscovered and understood the state of existence through literary writing.

1、 The room of confinement: an extreme situation of existence

In Brown Shaw's early works, the imagery of rooms symbolized confinement, such as in "Pastoral" where the protagonist Akim was imprisoned in a shelter and unable to escape. The rule of the shelter is that one can leave after getting married, but Brown Shaw blocked this escape route, implying that marriage is not truly happy. The world outside the shelter is equally suffocating, no different from a confined building. Brown Shaw regards the confinement room as a metaphor for existence itself, echoing Levinas' concept of "pure existence", which holds that people are bound in an irrevocable situation and cannot escape. Brown Shaw demonstrated this existential dilemma through room experiences, such as Akim feeling nauseous in the bathroom but unable to truly vent. Heidegger's ontology holds that this is an imposed existence that cannot be rid of, and Blanchard's confinement room is an extreme of this nature. Heidegger proposed the concept of "planning", believing that although existence is closed, it provides possibilities for it, while Blanchard blocks opportunities for escape or makes possibilities deeply hidden from the people in the room. In short, Brown Shaw created an extreme situation of existence by writing about the confinement room, depicting existence as a cage that is bound, inescapable, and lacks possibilities.

2、 An unsettling room: the duality of objects

In Blanchard's literary works, the room is a place full of unease, anxiety, and fear, which stems from the duality of the room. On the one hand, the room is a daily residence, and on the other hand, it is a dangerous space in literary creation. Brown Shaw integrated private space with literary space, blurring the boundaries of the room and creating a paradoxical existence. In Heidegger's ontology, the state of "homelessness" in a room is extreme, as the room is both "at home" and "not at home", both "fearful" and "stable". This duality leads to the entanglement of things in the room between comprehensible and incomprehensible, becoming uncertain and ambiguous, resulting in unease. Brown Shaw used the image of a corpse to illustrate this abnormal duality, causing the entire living space to be disturbed to a disturbing extent.

3、 The Room of Dialogue: The Limits of Ordinary People

Explored the third characteristic of the "room" imagery in Brown Shaw's literature, which is that the room serves as a place for dialogue. In Blanchard's works, dialogues are often obscure and mysterious, unlike the dialogue in traditional novels. By analyzing the novel "The Supreme" published in 1948, the paradoxical nature of dialogue is revealed, that is, the "surface laws" are always replaced by the "secret laws". Blanchard believed that everyday language is non communicable because it masks the nature of everyday refusal to communicate. This paradoxical nature reveals the depth of daily life, that is, daily life itself is a fundamental emptiness. Brown Shaw focuses on the "re grasping" of daily sexual experiences, as well as the depth that emerges in this re grasping that belongs to daily life itself. He understands daily life as something that escapes and hides from grasp, and believes that daily life averages people and maintains them in an anonymous state. Blanchard's focus is different from Heidegger's, as he focuses on the "re grasping" of everyday experiences themselves, as well as the depth that emerges in this re grasping that belongs to everyday life itself. Brown Shaw's focus is on reaching the limits of ordinary people while being among them, showcasing the ineffectiveness of others as speakers (and even protectors) through their existence, and exposing this "normalized" space. After being exposed by everyday language, ordinary people potentially oppose themselves through its emptiness, causing them to lose connection with the ordinary world in dialogue and fall deeper into loneliness.

4、 The Room at Night: "Going Far" and "Orientation"

Explored the relationship between the imagery of "room" and "night" in Brown Shaw's literature, revealing the complexity of the room. Brown depicts the room as a shelter where the night provides a peaceful sleep, in contrast to the order and rationality of the day. Daytime is described as the source of blindness, fatigue, and madness, while night is the opposite of daylight, existing to ensure daylight. Blanchard's life experiences, especially his political transformation after World War II, influenced his views on day and night. He transformed political fanaticism into silence, reflecting and expressing his attitude through this silence. The room of darkness in Brown Shaw's works has the property of spatial ontology, providing a stable chaotic space that keeps people away from excessive rational desires and prepares them for the next day. Sleep in the dark brings daylight closer here, providing direction and purpose for the next day's activities.

5、 Its pure room at night: 'Lost Direction' and 'Far Stay'

Explored the concept of "it night" in Brown Shaw's literature and its influence on the imagery of "room". As an absolute space that transcends the cycle of day and night, it exposes hidden anxieties and makes the shelter of the room temporary and unstable. In Aminada, the description of the underground space implies its existence at night, where Thomas is guided into a field beyond the everyday world, seeking an attractive light. This type of space exhibits ontological characteristics that are different from those of the dark night space, where there is a loss of connection and direction. In the 1950s, Brown Shaw described the room of "It Night" as an abstract, empty place, only used as a venue for literary events. In 'Waiting to Forget', the rooms and characters are simplified, and dialogue and discourse become the core of the narrative. The utensils in the room become useless, and the interlocutors are simplified into formless voices, reflecting the concept of 'passive discourse'. This discourse challenges the relationship between self and others, turning the dialogue in the narrative space into a non communicative communication. The central point in narrative is the commonality between the completion and disappearance of discourse, and it is the night point where the work manifests itself. Narration seeks the central point through echoing discourse, but the central point itself cannot be touched. Its pure room at night has changed the nature of 'going far' in terms of survival theory, exposing it as a 'holding far' towards all existing connections and elements. In this space, everything moves on unreachable boundaries, and one cannot plan their actions in a specific direction. They can only wander around like echoing words.

Conclusion: Lost in the unease of existence

In Brown Shaw's literature, the image of "room" symbolizes the loss and unease of existence. This is thrown into an incomprehensible space, losing the understanding of its own existence. Brown Shaw used the terms "unattainable" and "unsolvable" to describe this fundamental loss, which neither enhances understanding of the situation nor abandons attempts to grasp, becoming the ultimate prisoner in the space of existence. The unease of being lost in existence is not only the theme of literary works, but also another marginalized, extreme, and tragic possibility of existence outside of Heidegger's ontology. The concentration camp theme that Brown often discusses is the realistic mapping of this ontology. Faced with the anxiety, unease, and difficulties of contemporary people, this theory has unique explanatory power.