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 Screwtape Letters    

 note what you say about guiding your patient’s reading and taking
care that he sees a good deal of his materialist friend. But are you
not being a trifle naïf? It sounds as if you supposed that argument
was the way to keep him out of the Enemy’s clutches. That might
have been so if he had lived a few centuries earlier. At that time
the humans still knew pretty well when a thing was proved and when it was not; and if
it was proved they really believed it. They still connected thinking with doing and were
prepared to alter their way of life as the result of a chain of reasoning. But what with the
weekly press and other such weapons we have largely altered that. Your man has been
accustomed, ever since he was a boy, to have a dozen incompatible philosophies dancing about together inside his head. He doesn’t think of doctrines as primarily “true” or
“false”, but as “academic” or “practical”, “outworn” or “contemporary”, “conventional”
or “ruthless”. Jargon, not argument, is your best ally in keeping him from the Church.
Don’t waste time trying to make him think that materialism is true! Make him think it
is strong, or stark, or courageous — that it is the philosophy of the future. That’s the
sort of thing he cares about.
 

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