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.

Anne of the Island    

“Harvest is ended and summer is gone,” quoted Anne Shirley, gazing across
the shorn fields dreamily. She and Diana Barry had been picking apples in the
Green Gables orchard, but were now resting from their labors in a sunny corner,
where airy fleets of thistledown drifted by on the wings of a wind that was still
summer-sweet with the incense of ferns in the Haunted Wood.
But everything in the landscape around them spoke of autumn. The sea was
roaring hollowly in the distance, the fields were bare and sere, scarfed with
golden rod, the brook valley below Green Gables overflowed with asters of
ethereal purple, and the Lake of Shining Waters was blue—blue—blue; not the
changeful blue of spring, nor the pale azure of summer, but a clear, steadfast,
serene blue, as if the water were past all moods and tenses of emotion and had
settled down to a tranquility unbroken by fickle dreams.
“It has been a nice summer,” said Diana, twisting the new ring on her left
hand with a smile. “And Miss Lavendar’s wedding seemed to come as a sort of
crown to it. I suppose Mr. and Mrs. Irving are on the Pacific coast now.”
“It seems to me they have been gone long enough to go around the world,”
sighed Anne.
“I can’t believe it is only a week since they were married. Everything has
changed. Miss Lavendar and Mr. and Mrs. Allan gone—how lonely the manse
looks with the shutters all closed! I went past it last night, and it made me feel as
if everybody in it had died.”
“We’ll never get another minister as nice as Mr. Allan,” said Diana, with
gloomy conviction. “I suppose we’ll have all kinds of supplies this winter, and
half the Sundays no preaching at all. And you and Gilbert gone—it will be
awfully dull.”
“Fred will be here,” insinuated Anne slyly.
“When is Mrs. Lynde going to move up?” asked Diana, as if she had not heard
Anne’s remark.

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