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.

Babbitt    

THE towers of Zenith aspired above the morning mist; austere towers of
steel and cement and limestone, sturdy as cliffs and delicate as silver
rods. They were neither citadels nor churches, but frankly and
beautifully office-buildings.
The mist took pity on the fretted structures of earlier generations: the
Post Office with its shingle-tortured mansard, the red brick minarets of
hulking old houses, factories with stingy and sooted windows, wooden
tenements colored like mud. The city was full of such grotesqueries, but
the clean towers were thrusting them from the business center, and on
the farther hills were shining new houses, homes—they seemed—for
laughter and tranquillity.
Over a concrete bridge fled a limousine of long sleek hood and noiseless
engine. These people in evening clothes were returning from an all-night
rehearsal of a Little Theater play, an artistic adventure considerably
illuminated by champagne. Below the bridge curved a railroad, a maze
of green and crimson lights. The New York Flyer boomed past, and
twenty lines of polished steel leaped into the glare.
In one of the skyscrapers the wires of the Associated Press were closing
down. The telegraph operators wearily raised their celluloid eye-shades
after a night of talking with Paris and Peking. Through the building
crawled the scrubwomen, yawning, their old shoes slapping. The dawn
mist spun away. Cues of men with lunch-boxes clumped toward the
immensity of new factories, sheets of glass and hollow tile, glittering
shops where five thousand men worked beneath one roof, pouring out
the honest wares that would be sold up the Euphrates and across the
veldt. The whistles rolled out in greeting a chorus cheerful as the April
dawn; the song of labor in a city built—it seemed—for giants.
 

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