不為人知的張愛玲：美國新聞處譯書計畫下的《秧歌》與《赤地之戀》

本研究主要處理張愛玲《秧歌》、《赤地之戀》與香港美國新聞處的關係。這兩部小說在美新處譯書計畫中，既是「委託之作」，也是「授權之作」，更是美援文藝體制「反共文宣」的具體成果。然其製作過程頗為不同，在譯書計畫的屬性也非全然一致。《秧歌》最初是張愛玲的自主書寫，在其寫作過程中被納入美新處譯書計畫；《赤地之戀》原是香港政論家徐東濱所申請的《告別朝鮮前線》，屬於美新處與作家「共同合作」的作品。張愛玲在此寫作大綱下接續書寫，後該書被納入中國報告計畫。張愛玲在美援文藝體制下的創作，雖然受限於體制的要求，但仍然保有鮮明的自身風格，是一種「不自由的自由書寫」。

關鍵字

文化冷戰；美援文藝體制；中國報告計畫；反共文學

並列摘要

This essay mainly deals with the relationship between Eileen Chang's two novels The Rice-Sprout Song and The Naked Earth and the United States Information Service (USIS) in Hong Kong. I argue that these two novels were commissioned and authorized under the USIS Book Translation Program. Moreover, they are products of anticommunist propaganda promulgated by the U.S. Aid Literary Institution. However, their production processes and properties were not identical under the translation program. The Rice-Sprout Song began as Chang's independent writing, but was later incorporated into the USIS Book Translation Program. On the other hand, The Naked Earth was originally a writing of Farewell to the Korea Front which applied by the Hong Kong political commentator Hsu Tung-Pin. This story was written in close collaboration with USIS. Chang took over the writing project and she continued to write under the same outline. Then, The Naked Earth was broadcast under the China Reporting Program. Finally, I emphasize that Chang still retained her own distinctive writing style under the U.S. Aid Literary Institution producing, in a sense, free writing under an unfree institution.