❞ رواية To Have and Have Not ❝ ⏤ إرنست همينغوي

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.

To Have and Have Not    

THE FIRST FOUR STORIES ARE THE LAST ones I have written.
The others follow in the order in which they were originally published.
The first one I wrote was “Up in Michigan,” written in Paris in 1921. The last was “Old Man at
the Bridge,” cabled from Barcelona in April of 1938.
Beside The Fifth Column, I wrote “The Killers,” “Today Is Friday,” “Ten Indians,” part of The
Sun Also Rises and the first third of To Have and Have Not in Madrid. It was always a good place
for working. So was Paris, and so were Key West, Florida, in the cool months; the ranch, near Cooke
City, Montana; Kansas City; Chicago; Toronto, and Havana, Cuba.
Some other places were not so good but maybe we were not so good when we were in them.
There are many kinds of stories in this book. I hope that you will find some that you like.
Reading them over, the ones I liked the best, outside of those that have achieved some notoriety so
that school teachers include them in story collections that their pupils have to buy in story courses,
and you are always faintly embarrassed to read them and wonder whether you really wrote them or
did you maybe hear them somewhere, are “The Short Happy Life of Francis Macomber,” “In Another
Country,” “Hills Like White Elephants,” “A Way You’ll Never Be,” “The Snows of Kilimanjaro,”
“A Clean, Well-Lighted Place,” and a story called “The Light of the World” which nobody else ever
liked. There are some others too. Because if you did not like them you would not publish them.
In going where you have to go, and doing what you have to do, and seeing what you have to see,
you dull and blunt the instrument you write with. But I would rather have it bent and dull and know I
had to put it on the grindstone again and hammer it into shape and put a whetstone to it, and know that
I had something to write about, than to have it bright and shining and nothing to say, or smooth and
well-oiled in the closet, but unused.
Now it is necessary to get to the grindstone again. I would like to live long enough to write three
more novels and twenty-five more stories. I know some pretty good ones.
 

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