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 Rise of Silas Lapham    

WHEN Bartley Hubbard went to interview Silas Lapham for the "Solid Men
of Boston" series, which he undertook to finish up in The Events, after he
replaced their original projector on that newspaper, Lapham received him in his
private office by previous appointment.
"Walk right in!" he called out to the journalist, whom he caught sight of
through the door of the counting-room.
He did not rise from the desk at which he was writing, but he gave Bartley his
left hand for welcome, and he rolled his large head in the direction of a vacant
chair. "Sit down! I'll be with you in just half a minute."
"Take your time," said Bartley, with the ease he instantly felt. "I'm in no
hurry." He took a note-book from his pocket, laid it on his knee, and began to
sharpen a pencil.
"There!" Lapham pounded with his great hairy fist on the envelope he had
been addressing.
"William!" he called out, and he handed the letter to a boy who came to get it.
"I want that to go right away. Well, sir," he continued, wheeling round in his
leather-cushioned swivel-chair, and facing Bartley, seated so near that their
knees almost touched, "so you want my life, death, and Christian sufferings, do
you, young man?"
"That's what I'm after," said Bartley. "Your money or your life."
"I guess you wouldn't want my life without the money," said Lapham, as if he
were willing to prolong these moments of preparation.
"Take 'em both," Bartley suggested. "Don't want your money without your
life, if you come to that. But you're just one million times more interesting to the
public than if you hadn't a dollar; and you know that as well as I do, Mr.
Lapham. There's no use beating about the bush."
"No," said Lapham, somewhat absently. He put out his huge foot and pushed
the ground-glass door shut between his little den and the book-keepers, in their
larger den outside.
"In personal appearance," wrote Bartley in the sketch for which he now
studied his subject, while he waited patiently for him to continue, "Silas Lapham
is a fine type of the successful American. He has a square, bold chin, only
partially concealed by the short reddish-grey beard, growing to the edges of his
firmly closing lips. His nose is short and straight; his forehead good, but broad
rather than high; his eyes blue, and with a light in them that is kindly or sharp
according to his mood. He is of medium height, and fills an average arm-chair
with a solid bulk, which on the day of our interview was unpretentiously clad in
a business suit of blue serge. His head droops somewhat from a short neck,
which does not trouble itself to rise far from a pair of massive shoulders."

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