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 Girl on the Train    

THERE IS A PILE OF clothing on the side of the train tracks. Light-blue cloth – a
shirt, perhaps – jumbled up with something dirty white. It’s probably rubbish,
part of a load fly-tipped into the scrubby little wood up the bank. It could have
been left behind by the engineers who work this part of the track, they’re here
often enough. Or it could be something else. My mother used to tell me that I
had an overactive imagination; Tom said that too. I can’t help it, I catch sight of
these discarded scraps, a dirty T-shirt or a lonesome shoe, and all I can think of is
the other shoe, and the feet that fitted into them.
The train jolts and scrapes and screeches back into motion, the little pile of
clothes disappears from view and we trundle on towards London, moving at a
brisk jogger’s pace. Someone in the seat behind me gives a sigh of helpless
irritation; the 8.04 slow train from Ashbury to Euston can test the patience of the
most seasoned commuter. The journey is supposed to take fifty-four minutes, but
it rarely does: this section of the track is ancient, decrepit, beset with signalling
problems and never-ending engineering works.
The train crawls along; it judders past warehouses and water towers, bridges
and sheds, past modest Victorian houses, their backs turned squarely to the track.
My head leaning against the carriage window, I watch these houses roll past
me like a tracking shot in a film. I see them as others do not; even their owners
probably don’t see them from this perspective. Twice a day, I am offered a view
into other lives, just for a moment. There’s something comforting about the sight
of strangers safe at home
 

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