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」。

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 anti- communist propaganda promulgated by the U.S. Aid Literary Insti-tution. 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 un-der 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 insti-tution.