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.

Daughter of Fortune    

Introduction
Isabel Allende’s love affair with the written word has had a long history that
began with her work as broadcaster, journalist in women’s magazines,
playwright and children’s author (Moody, 1987:52). In several of her interviews
(Invernizzi and Pope, 1989:123; Rodden, 1991:114; Correas, 1998:83) Allende
has recalled how Chilean Nobel Prize winner Pablo Neruda predicted her future
accomplishments as a novelist since her vivid imagination was suited for fiction
writing rather than journalism. Neruda’s prediction materialised as soon as The
House of the Spirits was published in Spain in 1982, attaining best selling figures
there as well as overseas. From that moment on, there has been no turning back
for Allende, whose world-wide success has situated her as one of the few women
Latin American writers of her generation attaining international recognition.
Despite all this resounding success, another ten years had to pass before
my own personal love affair with Allende began. At the time, I was a Spanish
undergraduate at the National University of Ireland, Galway (NUIG) and during
this period, I started cultivating an interest in Latin American literature. The
study programmes offered by this Irish institution prompted this interest and I
became familiar with the works of Gabriel García Márquez, Mario Vargas Llosa,
Manuel Puig, Miguel Ángel Asturias and Jorge Luis Borges but in particular it
was Allende’s novels which especially touched me. The House of the Spirits
moved me in a way that no other Latin American novels had managed to do so
far and my own family history had played a significant role in generating such 
response. Among all the countries in Latin America, Chile held a privileged
position for me. While all members of my immediate family are Spanish and
live in Spain, there are currently descendants of my grandmother’s cousins still
living in Chile who had experienced first hand the political turmoil of 1973 and
its aftermath. The House of the Spirits felt really close to me since it tapped into
many family memories and stories I had heard in my childhood. In a short
period, I had not just read all of Allende’s titles but also had completed an MA
dissertation whose themes and inspiration had originated in The House of the
Spirits. 
 

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