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 Camel Club    

THE CHEVY SUBURBAN SPED DOWN
the road, enveloped by the hushed darkness of the Virginia countryside.
Forty-one-year-old Adnan al-Rimi was hunched over the wheel as he
concentrated on the windy road coming up. Deer were plentiful here, and
Adnan had no desire to see the bloodied antlers of one slashing through the
windshield. Indeed, the man was tired of things attacking him. He lifted a
gloved hand from the steering wheel and felt for the gun in the holster under
his jacket; a weapon was not just a comfort for Adnan, it was a necessity.
He suddenly glanced out the window as he heard the sound overhead.
There were two passengers in the backseat. The man talking animatedly in
Farsi on a cell phone was Muhammad al-Zawahiri, an Iranian who had
entered the country shortly before the terrorist attacks on 9/11. The man next
to him was an Afghan named Gul Khan, who’d been in the States only a few
months. Khan was large and muscular with a shaved head. He wore a hunter’s
camouflage jacket and was checking his machine gun with nimble fingers. He
clicked the mag back in place and put the firing switch on two-shot bursts. A
few drops of rain fell against the window, and Khan idly watched them trickle
down.
“This is nice countryside,” Khan said in Pashto, a dialect Muhammad
spoke but one Adnan had little familiarity with. “My country is filled with the
metal carcasses of Soviet tanks. The farmers just plow around them.” He
paused and added with a deeply satisfied look, “And some American
carcasses too, we have.”

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