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.

It    

The terror, which would not end for another twenty-eight years—if it ever did end—began, so far as I
know or can tell, with a boat made from a sheet of newspaper floating down a gutter swollen with
rain.
The boat bobbed, listed, righted itself again, dived bravely through treacherous whirlpools, and
continued on its way down Witcham Street toward the traffic light which marked the intersection of
Witcham and Jackson. The three vertical lenses on all sides of the traffic light were dark this
afternoon in the fall of 1957, and the houses were all dark, too. There had been steady rain for a week
now, and two days ago the winds had come as well. Most sections of Derry had lost their power then,
and it was not back on yet.
A small boy in a yellow slicker and red galoshes ran cheerfully along beside the newspaper boat.
The rain had not stopped, but it was finally slackening. It tapped on the yellow hood of the boy’s
slicker, sounding to his ears like rain on a shed roof . . . a comfortable, almost cozy sound. The boy in
the yellow slicker was George Denbrough. He was six. His brother, William, known to most of the
kids at Derry Elementary School (and even to the teachers, who would never have used the nickname
to his face) as Stuttering Bill, was at home, hacking out the last of a nasty case of influenza. In that
autumn of 1957, eight months before the real horrors began and twenty-eight years before the final
showdown, Stuttering Bill was ten years old.

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