❞ رواية Dreamcatcher ❝ ⏤ ستيفن كينغ

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.

Dreamcatcher    

It became their motto, and Jonesy couldn’t for the life of him remember which
of them started saying it first. Payback’s a bitch, that was his. Fuck me Freddy and
half a dozen even more colorful obscenities originated with Beaver. Henry was
the one who taught them to say What goes around comes around, it was the kind
of Zen shit Henry liked, even when they were kids. SSDD, though; what about
SSDD? Whose brainstorm had that been?
Didn’t matter. What mattered was that they believed the first half of it when
they were a quartet and all of it when they were five and then the second half of
it when they were a quartet again.
When it was just the four of them again, the days got darker. There were
more fuck-me-Freddy days. They knew it, but not why. They knew something
was wrong with them—different, at least—but not what. They knew they were
caught, but not exactly how. And all this long before the lights in the sky. Before
McCarthy and Becky Shue.
SSDD: Sometimes it’s just what you say. And sometimes you believe in
nothing but the darkness. And then how do you go along?
1988: Even Beaver Gets the Blues
To say that Beaver’s marriage didn’t work would be like saying that the launch of
the Challenger space shuttle went a little bit wrong. Joe “Beaver” Clarendon and
Laurie Sue Kenopensky make it through eight months and then kapow, there
goes my baby, somebody help me pick up the fuckin pieces.
The Beav is basically a happy guy, any of his hangout buddies would tell you
that, but this is his dark time. He doesn’t see any of his old friends (the ones he
thinks of as his real friends) except for the one week in November when they are
together every year, and last November he and Laurie Sue had still been hanging
on. By a thread, granted, but still hanging on. Now he spends a lot of his time—
too much, he knows—in the bars of Portland’s Old Port district, The Porthole
and The Seaman’s Club and The Free Street Pub. He is drinking too much and
smoking too much of the old rope-a-dope and come most mornings he doesn’t
like to look at himself in the bathroom mirror; his red-rimmed eyes skitter away
from his reflection and he thinks I ought to quit the clubs. Pretty soon I’m gonna
have a problem the way Pete’s got one. Jesus-Christ-bananas.

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