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.

Mary Poppins

IF YOU WANT to find Cherry-Tree Lane all you have to do is ask the Policeman at the cross-roads.
He will push his helmet slightly to one side, scratch his head thoughtfully, and then he will point his huge
white-gloved finger and say: "First to your right, second to your left, sharp right again, and you're there.
Good-morning."
And sure enough, if you follow his directions exactly, you will be there — right in the middle of
Cherry-Tree Lane, where the houses run down one side and the Park runs down the other and the cherrytrees go dancing right down the middle.
If you are looking for Number Seventeen — and it is more than likely that you will be, for this book
is all about that particular house — you will very soon find it. To begin with, it is the smallest house in
the Lane. And besides that, it is the only one that is rather dilapidated and needs a coat of paint. But Mr.
Banks, who owns it, said to Mrs. Banks that she could have either a nice, clean, comfortable house or four
children. But not both, for he couldn't afford it.
And after Mrs. Banks had given the matter some consideration she came to the conclusion that she
would rather have Jane, who was the eldest, and Michael, who came next, and John and Barbara, who
were Twins and came last of all. So it was settled, and that was how the Banks family came to live at
Number Seventeen, with Mrs. Brill to cook for them, and Ellen to lay the tables, and Robertson Ay to cut
the lawn and clean the knives and polish the shoes and, as Mr. Banks always said, "to waste his time and
my money."
And, of course, besides these there was Katie Nanna, who doesn't really deserve to come into the
book at all because, at the time I am speaking of, she had just left Number Seventeen.
"Without by your leave or a word of warning. And what am I to do?" said Mrs. Banks.
"Advertise, my dear," said Mr. Banks, putting on his shoes. "And I wish Robertson Ay would go
without a word of warning, for he has again polished one boot and left the other untouched. I shall look
very lopsided."

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