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.

The Indian in the Cupboard    

It was not that Omri didn’t appreciate Patrick’s birthday present to him. Far from it. He
was really very grateful—sort of. It was, without a doubt, very kind of Patrick to give
Omri anything at all, let alone a secondhand plastic Indian that he himself had ɹnished
with.
The trouble was, though, that Omri was getting a little fed up with small plastic
ɹgures, of which he had loads. Biscuit tinsful, probably three or four if they were all put
away at the same time, which they never were because most of the time they were
scattered about in the bathroom, the loft, the kitchen, the breakfast room, not to
mention Omri’s bedroom and the garden. The compost heap was full of soldiers which,
over several autumns, had been raked up with the leaves by Omri’s mother, who was
rather careless about such things.
Omri and Patrick had spent many hours together playing with their joint collections
of plastic toys. But now they’d had about enough of them, at least for the moment, and
that was why, when Patrick brought his present to school on Omri’s birthday, Omri was
disappointed. He tried not to show it, but he was.
“Do you really like him?” asked Patrick as Omri stood silently with the Indian in his
hand.
“Yes, he’s fantastic,” said Omri in only a slightly ɻattish voice. “I haven’t got an
Indian.”
“I know.”
“I haven’t got any cowboys either.”
“Nor have I. That’s why I couldn’t play anything with him.”
Omri opened his mouth to say, “I won’t be able to either,” but, thinking that might
hurt Patrick’s feelings, he said nothing, put the Indian in his pocket, and forgot about it.
After school there was a family tea, and all the excitement of his presents from his
parents and his two older brothers. He got his dearest wish—a skateboard complete with
kick-board and kryptonic wheels from his mum and dad, and from his eldest brother,
Adiel, a helmet. Gillon, his other brother, hadn’t bought him anything because he had no
money (his pocket money had been stopped some time ago in connection with a very
unfortunate accident involving their father’s bicycle). So when Gillon’s turn came to
give Omri a present, Omri was very surprised when a large parcel was put before him,
untidily wrapped in brown paper and string.

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