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.

    Song of Solomon

Toni Morrison’s third novel, Song of Solomon (1977), seems to me her masterwork to date, though Beloved (1987) has even more readers. A superb,
highly conscious artist from her beginning, Morrison is also a committed
social activist. Exemplary as it is, her African-American feminist stance is
the prime concern of nearly all her critics, which makes for a certain monotony in their cheerleading. Morrison is scarcely responsible for them, though
I detect an intensification of ideological fervor when I pass from rereading
Song of Solomon to rereading Beloved and then go on to Jazz and Paradise, the
novels that followed. A novelist’s politics are part of her panoply, her arms
and armor. Time stales our coverings; fictions that endure do so despite the
passionate commitments of their authors, while claques, however sincere,
do not assure literary survival. The very titles of many of the essays in this
volume testify to political obsessions: “black cultural nationalism,” “myth,
ideology, and gender,” “race and class consciousness,” “political identity,”
“competing discourses.” Morrison, far cannier than her enthusiasts, at her
most persuasive transcends her own indubitable concerns. Her art, grounded
in African-American realities and concerns, is nevertheless not primarily
naturalistic in its aims and modes.

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