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 Call of the Wild    

BUCK did not read the newspapers, or he would have known that
 trouble was brewing, not alone for himself, but for every tide-
 water dog, strong of muscle and with warm, long hair, from
Puget Sound to San Diego. Because men, groping in the Arctic darkness,
had found a yellow metal, and because steamship and transportation
companies were booming the find, thousands of men were rushing into
the Northland. These men wanted dogs, and the dogs they wanted were
heavy dogs, with strong muscles by which to toil, and furry coats to
protect them from the frost.
Buck lived at a big house in the sun-kissed Santa Clara Valley. Judge
Miller’s place, it was called. It stood back from the road, half hidden
among the trees, through which glimpses could be caught of the wide
cool veranda that ran around its four sides. The house was approached
by gravelled driveways which wound about through wide-spreading
lawns and under the interlacing boughs of tall poplars. At the rear things
were on even a more spacious scale than at the front. There were great
stables, where a dozen grooms and boys held forth, rows of vine-clad
servants’ cottages, an endless and orderly array of outhouses, long grape
 

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