هذا القسم يحتوي علي العديد من القصص والروايات باللغة الإنجليزية

(Stories and novels) القصص والروايات
الرواية هي سرد نثري طويل يصف شخصيات خيالية أو واقعية وأحداثاً على شكل قصة متسلسلة، كما أنها أكبر الأجناس القصصية من حيث الحجم وتعدد الشخصيات وتنوع الأحداث، وقد ظهرت في أوروبا بوصفها جنساً أدبياً مؤثراً في القرن الثامن عشر، والرواية حكاية تعتمد السرد بما فيه من وصف وحوار وصراع بين الشخصيات وما ينطوي عليه ذلك من تأزم وجدل وتغذيه الأحداث
A novel is a relatively long work of narrative fiction, normally written in prose form, and which is typically published as a book. The present English word for a long work of prose fiction derives from the Italian novella for "new", "news", or "short story of something new", itself from the Latin novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning "new". Walter Scott made a distinction between the novel, in which (as he saw it) "events are accommodated to the ordinary train of human events and the modern state of society" and the romance, which he defined as "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents". However, many such romances, including the historical romances of Scott, Emily Brontë's Wuthering Heights and Herman Melville's Moby-Dick, are also frequently called novels, and Scott describes romance as a "kindred term". This sort of romance is in turn different from the genre fiction love romance or romance novel
A short story is a piece of prose fiction that typically can be read in one sitting and focuses on a self-contained incident or series of linked incidents, with the intent of evoking a "single effect" or mood.

A dictionary definition is "an invented prose narrative shorter than a novel usually dealing with a few characters and aiming at unity of effect and often concentrating on the creation of mood rather than plot."

The short story is a crafted form in its own right. Short stories make use of plot, resonance, and other dynamic components as in a novel, but typically to a lesser degree. While the short story is largely distinct from the novel or novella (a shorter novel), authors generally draw from a common pool of literary techniques.

    Hatchet

BRIAN ROBESON stared out the window of the small plane at the endless green northern wilderness below. It 
was a small plane, a Cessna 406—a bush-plane—and the engine was so loud, so roaring and
consuming and loud, that it ruined any chance for conversation.
Not that he had much to say. He was thirteen and the only passenger on the plane with a pilot
named—what was it? Jim or Jake or something— who was in his mid-forties and who had been silent
as he worked to prepare for take-off. In feet since Brian had come to the small airport in Hampton,
New York to meet the plane—driven by his mother—the pilot had spoken only five words to him.
"Get in the copilot's seat." Which Brian had done. They had taken off and that was the last of the
conversation. There had been the initial excitement, of course. He had never flown in a single-engine
plane before and to be sitting in the copilot's seat with all the controls right there in front of him, all
the instruments in his face as the plane clawed for altitude, jerking and sliding on the wind currents as
the pilot took off, had been interesting and exciting. But in five minutes they had leveled off at six