黃凡一般被認為是一個對政治抱以絕對懷疑論與批判立場的小說家，且是公認的臺灣後現代小說重要先鋒。但在他寫作充滿懷疑論式政治小說的同時，還有跨入所謂後現代小說之前，也曾在世界的冷戰格局與國民黨的反共論述框架之下，寫出隱隱應和官方冷戰╱反共意識形態的文學作品。本文以〈青州車站〉為例，兼而觀察七○年代占據主流媒體的反共宣傳氛圍。嘗試指出，在鄉土文學論戰之後，但戒嚴與冷戰年代的反共意識形態仍深深扎根於主流媒體與日常生活的七○年代後期，這部短篇小說如何回應官方所提供的反共宣傳素材，進一步深化其美學力道，蛻變為意識形態上與政治當權曖昧暗合且受主流文壇推崇的作品。接著，藉由比較《零》、〈戰爭最高指導原則〉和歐威爾（George Orwell）《一九八四》等作，觀察此一冷戰下的反共論述基調與黃凡後來的科幻寫作路徑的關係，探問這與他向來的政治嘲弄態度和後現代寫作的轉折，是否具有更深的聯繫。並進而質疑，這些未曾清理過的冷戰思維與反共意識，是否仍在今日影響著我們對現實的認識。

Huang Fan is generally considered to be a novelist of skepticism and political criticism. He is also recognized as an important pioneer of Taiwanese postmodern fiction. However, while writing his works of political skepticism and before becoming a “postmodernist”, Huang has also written fictions that carried the ideology of the Cold War and anti-Communism, which echoed the position of the KMT. This article attempts to study Huang Fan’s work The Station of Qingzhou, and to outline the anti-Communist propaganda of mainstream media in the 70’s. I observe how this short story aestheticized and responded to the anti-Communist propaganda materials of the ruling party during the Martial Law period, and emphasize that anti-Communist ideology was still deeply rooted in the day-to-day life after the Nativist Literature Debate. I consider the relationship between this Cold War anti-Communist discourse and Huang Fan’s later Si-Fi works, and probe the possibility of any deeper connection between this discourse and his political satire and postmodern turn through comparing Zero, The Highest Guiding Principle of War and George Orwell’s 1984. Finally, I keep questioning whether these residue Cold War mentalities and anti-Communist ideology are still affecting our understanding of reality today.