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.

Nausea    

INTRODUCTION
Hayden Carruth
Existentialism entered the American consciousness like an elephant entering a dark room: there was a
good deal of breakage and the people inside naturally mistook the nature of the intrusion. What would
it be? An engine of destruction perhaps, a tank left over from the war? After a while the lights were
turned on and it was seen to be "only" an elephant; everyone laughed and said that a circus must be
passing through town. But no, soon they found the elephant was here to stay; and then, looking closer,
they saw that although he was indeed a newcomer, an odd-looking one at that, he was not a stranger:
they had known him all along.
This was in 1946 and 1947. And in no time at all Existentialism became a common term. No
question of what it meant; it meant the life re-emerging after the war in the cafes of the Left Bank—
disreputable young men in paint-smeared jeans, and their companions, those black-stockinged,
makeupless girls who smoked too many cigarettes and engaged in who knows what follies besides.
And their leader, apparently, was this fellow Sartre, who wrote books with loathsome titles like
Nausea and The Flies. What nonsense, the wiseheads concluded. Perfectly safe to dismiss it as a fad,
very likely a hoax.
Meanwhile at centers of serious thought the texts of Existentialism, especially Sartre's, were
being translated and studied, with a resulting profound shock to the American intellectual establishment. On one hand the Neo-Thomists and other moral philosophers were alarmed by Existentialism's
disregard for traditional schemes of value; on the other the positivists and analytical philosophers were
outraged by Existentialism's willingness to abandon rational categories and rely on nonmental
processes of consciousness. Remarkably violent attacks issued from both these camps, set off all the
more sharply by the enthusiasm, here and there, of small welcoming bands of the avant garde. That
the welcomers were no less ill-informed about Existentialism than the attackers, didn't help matters.
 

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