原創超短篇西方小說

㈠ 求推薦一些國外的短篇小說集，單篇也可以

暗藏殺機
愛國者游戲:
東方快車謀殺案:
聲名遠播的推理大手筆，將結局的出人意料性發揮到極至的不朽作品，阿加莎的偉大創舉。伊麗莎白女王曾經問阿加莎這部作品的結局是什麼,阿加莎回答:「不巧我也忘了呢!「阿加莎當然不是真的忘結局，而是偵探小說的閱讀本來就應該留有懸念，不看到最後就揭出謎底,對讀者來說絕不是件好事.本篇的謎底就一直留到最後,不看到最後沒有一個人能夠猜出結局。閱讀阿加莎的作品得有耐心，她習慣通過人物之間的對話來推進故事的進程，而且她似乎對范達因二十條守則中的「不要加入不相乾的描寫」十分推崇，除了對事件、人物必要的說明之外很少說廢話，（雖然人物本身的廢話不少）本篇也不例外。故事的開端並不怎麼吸引人，中間仍舊是一大堆冗長乏味的例行訊問，正是這些訊問磨掉了不少人的耐心，卻不知精彩的還在後頭。錢德勒在評價《東快》的結局時說:「只有傻瓜猜得到「.
希區柯克經典懸疑故事集:無論是兇殺或愛情場面他都能讓你毛骨悚然，他以緊張，焦慮，窺探，恐懼的完美駕馭征服整個世界。
經典愛倫坡懸疑集:愛倫·坡（1809——1849）美國作家、文藝評論家。出身演員家庭。愛倫·坡被譽為「偵探小說的鼻祖」。其小說風格怪異離奇，充滿恐怖氣氛。
福爾摩斯探案(柯南·道爾作品集):柯南·道爾（1859——1930）英國傑出的偵探小說家、劇作家,被譽為「英國偵探小說之父」。
傑德羅游戲 (美.斯蒂芬.金):斯蒂芬·金曾經說過這么句話「對我來說，最佳的效果是讀者在閱讀我的小說時因心臟病發作而死去。」
黑暗的另一半(恐怖大師斯蒂芬·金又一力作）:黑暗的另一半卻還是黑暗。因為一波未平一波又起，在 險境中剛脫險卻又落進了另一陷阱。
深海探秘:在二戰的歷史上，有許多令人稱奇、令人百思不解、令人著迷的事件，它們很少被人提及。本書講述了兩名深海潛水愛好者約翰和里奇挑戰深海潛水的極限，歷時7年收集了大量的證據來破獲二戰遺留下來的最後一個歷史之謎。他們在新澤西海域深達230英尺的水下，發現一艘二次大戰時期德國U-869潛水艇的殘骸，他們認為，這艘代號為U-869的德國潛水艇是被自己人的魚雷擊中的。德國人為什麼擊毀自己的潛水艇，船上載的是何人？何物？為什麼會出現在這里？有些潛水人執著要找出答案，甚至甘冒生命危險。...
面具館:美國西部城市波特蘭陷入驚恐之中——殺人案接踵而至，每一位受害者都被剝去了臉皮，屍體上都留下了鐵釘、硬幣等「記號」，身旁還有一行血字：「面具即將歸來！」
憂傷黑櫻桃:二十世紀最經典的100部懸疑小說之一。曾經刺激過兩億五千萬歐美讀者的堅強神經、使他們欲罷不能的「懸疑+驚悚」小說，首次全面登陸，考驗中國讀者的心智能力！有心臟病史、十四歲以下者請勿閱讀。
沉默的羔羊--三部完整版:一部讓人驚心動魄的偵破片，一部令人緊張得透不過氣來的心理分析片，好萊塢最令人激動的恐怖片之一
吸血鬼伯爵：德古拉之吻:
這部小說在世界范圍內也是最暢銷的小說之一。布萊姆·斯托克的《德古拉之吻》也許是發表過的最著名的恐怖小說。
福爾摩斯探案—恐怖谷
非人:電話不斷打來，不斷有人被暗殺。警方掌握的唯一線索是殺手故意播放的音樂，然而它卻令警方場場撲空，一次次被嘲弄，一次次陷入絕境。殺手就像幽靈一樣，似乎只有他的聲音可感觸，他彷彿是人而非人……
活跳屍:一個偉大的科學家弗蘭肯斯坦用死屍拼湊了一個靈魂善良而相貌奇醜的「活跳屍」，由於不容於人類而轉向瘋狂報復……這個悲傷而恐怖的故事拍成的電影比世界上由任何其他故事拍成的電影都要多，至今仍有人稱它是「有史以來最偉大的恐怖作品之一」。
人骨拼圖:一個全身癱瘓的警探，在准備結束自己的生命之際，紐約發生了連環綁架案件，已有兩位無辜受害者被虐待致死，而兇手在每個犯罪現場都留下了線索……
達-芬奇密碼:懸念謎團環環相扣，宗教題材飽受爭議
數字城堡:情節緊張，懸念不斷，讓人有一種欲罷不能的閱讀快感。

㈡ 推薦6篇超經典的英語短篇小說，幾分鍾就能讀完，馬上讀起來！

以下是六篇推薦的英語短篇小說，它們篇篇經典，值得一讀，閱讀時長不超過10分鍾。這些小說涵蓋了不同主題，包括職場幽默、情感轉變、寫作經驗、校園生活和象徵寓言，都是深思熟慮之作。請注意，以下內容不包含標題或額外的推薦信息，直接提供小說的簡介和摘選。

1. 《入職介紹》(Orientation) by 丹尼爾·奧羅斯科(Daniel Orozco)

閱讀時長：8分鍾

這篇短篇小說以獨白的形式講述了一個新員工入職時的全過程，讓職場經歷的讀者深感共鳴。

精彩選段：

員工被引導參觀辦公室時，主管介紹到：「這是你的座機。電話你不用接，語音信箱系統會自動接聽。」隨後，主管的介紹變得私人化，涉及員工的私生活。

2. 《一小時的故事》(The Story of an Hour) by 凱特·肖邦(Kate Chopin)

閱讀時長：5分鍾

這篇短篇講述了女主人公從聽說丈夫死訊到發現丈夫還活著中間一小時的心理歷程，探討了個人自由與婚姻束縛的主題。

精彩選段：

她能看到新生命的氣息從房前的樹梢彌漫開來，空氣中彌漫著雨水的清新。街上的小販在叫賣，遠處有人在歌唱，屋檐下麻雀在嘰嘰喳喳。

3. 《如何成為一名作家》(How to Become a Writer) by 洛麗·摩爾(Lorrie Moore)

閱讀時長：10分鍾

故事圍繞一個有志於成為作家的人所面臨的挑戰，包括制定備用計劃和處理混亂的大學室友。

精彩選段：

「早年失敗，比如14歲，有助於形成對失敗的早期理解，15歲時，你就能以挫敗為靈感寫出長俳句。」母親以簡練而實際的態度對待寫作。

4. 《學校》(The School) by 唐納德·巴塞爾姆(Donald Barthelme)

閱讀時長：5分鍾

這個故事充滿了戲劇性獨白，展現了巴塞爾姆標志性的幽默和文體實驗。

精彩選段：

孩子們不斷地詢問老師關於死亡和生命意義的問題，討論圍繞著樹、動物和孩子生命的消失展開。

5. 《徵兆與象徵》(Symbols and Signs) by 弗拉基米爾·納博科夫(Vladimir Nabokov)

閱讀時長：10分鍾

納博科夫的散文充滿詩意，這篇關於妄想症男孩、家庭和同伴之間故事的小說既讓人好奇又令人反思。

精彩選段：

男孩試圖撕開現實世界的缺口以逃脫，盡管他最終被阻止，但他真正渴望的是逃離。

6. 更多經典英語短篇小說資源鏈接：pan..com/s/1gfD2oC... 密碼: p5ru

這些短篇小說不僅短小精悍，且主題豐富，是提升英語閱讀和理解能力的絕佳材料。希望您在閱讀這些作品時能獲得啟發和享受。

㈢ 誰有短篇小說，要外國的，要故事，不是題目

萬卡
俄〕契訶夫／著
汝 龍／譯

九歲的男孩萬卡•茹科夫三個月前被送到靴匠阿里亞興的鋪子里來做學徒。在聖誕節的前夜，他沒有上床睡覺。他等到老闆夫婦和師傅們出外去做晨禱後，從老闆的立櫃里取出一小瓶墨水和一支安著銹筆尖的鋼筆，然後在自己面前鋪平一張揉皺的白紙，寫起來。他在寫下第一個字以前，好幾次戰戰兢兢地回過頭去看一下門口和窗子，斜起眼睛瞟一眼烏黑的聖像和那兩旁擺滿鞋楦頭的架子，斷斷續續地嘆氣。那張紙鋪在一條長凳上，他自己在長凳前面跪著。
「親愛的爺爺，康司坦丁•瑪卡雷奇！」他寫道。「我在給你寫信。祝您聖誕節好，求上帝保佑你萬事如意。我沒爹沒娘，只剩下你一個親人了。」
萬卡抬起眼睛看著烏黑的窗子，窗上映著他的蠟燭的影子。他生動地想起他的祖父康司坦丁•瑪卡雷奇，地主席瓦烈夫家的守夜人的模樣。那是個矮小精瘦而又異常矯健靈活的小老頭，年紀約莫六十五歲，老是笑容滿面，睒著醉眼。白天他在僕人的廚房裡睡覺，或者跟廚娘們取笑，到夜裡就穿上肥大的羊皮襖，在庄園四周走來走去，不住地敲梆子。他身後跟著兩條狗，耷拉著腦袋，一條是老母狗卡希坦卡，一條是泥鰍，它得了這樣的外號，是因為它的毛是黑的，而且身子細長，象是黃鼠狼。這條泥鰍倒是異常恭順親熱的，不論見著自家人還是見著外人，一概用脈脈含情的目光瞧著，然而它是靠不住的。在它的恭順溫和的後面，隱藏著極其狡獪的險惡用心。任憑哪條狗也不如它那麼善於抓住機會，悄悄溜到人的身旁，在腿肚子上咬一口，或者鑽進冷藏室里去，或者偷農民的雞吃。它的後腿已經不止一次被人打斷，有兩次人家索性把它吊起來，而且每個星期都把它打得半死，不過它老是養好傷，又活下來了。
眼下他祖父一定在大門口站著，眯細眼睛看鄉村教堂的通紅的窗子，頓著穿高統氈靴的腳，跟僕人們開玩笑。他的梆子掛在腰帶上。他凍得不時拍手，縮起脖子，一忽兒在女僕身上捏一把，一忽兒在廚娘身上擰一下，發出蒼老的笑聲。
「咱們來吸點鼻煙，好不好？」他說著，把他的鼻煙盒送到那些女人跟前。
女人們聞了點鼻煙，不住打噴嚏。祖父樂得什麼似的，發出一連串快活的笑聲，嚷道：「快擦掉，要不然，就凍在鼻子上了！」
他還給狗聞鼻煙。卡希坦卡打噴嚏，皺了皺鼻子，委委屈屈，走到一旁去了。泥鍬為了表示恭順而沒打噴嚏，光是搖尾巴。天氣好極了。空氣紋絲不動，清澈而新鮮。夜色黑暗，可是整個村子以及村裡的白房頂，煙囪里冒出來的一縷縷煙子，披著重霜而變成銀白色的樹木、雪堆，都能看清楚。
繁星布滿了整個天空，快活地睒著眼。天河那麼清楚地顯出來，就好象有人在過節以前用雪把它擦洗過似的。……
萬卡嘆口氣，用鋼筆蘸一下墨水，繼續寫道：「昨天我挨了一頓打。老闆揪著我的頭發，把我拉到院子里，拿師傅幹活用的皮條狠狠地抽我，怪我搖他們搖籃里的小娃娃，一不小心睡著了。上個星期老闆娘叫我收拾一條青魚，我從尾巴上動手收拾，她就撈起那條青魚，把魚頭直截到我臉上來。師傅們總是耍笑我，打發我到小酒店裡去打酒，慫恿我偷老闆的黃瓜，老闆隨手撈到什麼就用什麼打我。吃食是什麼也沒有。早晨吃麵包，午飯喝稀粥，晚上又是麵包，至於茶啦，白菜湯啦，只有老闆和老闆娘才大喝而特喝。他們叫我睡在過道里，他們的小娃娃一哭，我就根本不能睡覺，一股勁兒搖搖籃。親愛的爺爺，發發上帝那樣的慈悲，帶著我離開這兒，回家去，回到村子裡去吧，我再也熬不下去了。……我給你叩頭了，我會永遠為你禱告上帝，帶我離開這兒吧，不然我就要死了。……」
萬卡嘴角撇下來，舉起黑拳頭揉一揉眼睛，抽抽搭搭地哭了。
「我會給你搓碎煙葉，」他接著寫道，「為你禱告上帝，要是我做了錯事，就自管抽我，象抽西多爾的山羊那樣。要是你認為我沒活兒干，那我就去求總管看在基督面上讓我給他擦皮靴，或者替菲德卡去做牧童。親愛的爺爺，我再也熬不下去，簡直只有死路一條了。我本想跑回村子，可又沒有皮靴，我怕冷。等我長大了，我就會為這件事養活你，不許人家欺侮你，等你死了，我就禱告，求上帝讓你的靈魂安息，就跟為我的媽彼拉蓋雅禱告一樣。
「莫斯科是個大城。房屋全是老爺們的。馬倒是有很多，羊卻沒有，狗也不凶。這兒的孩子不舉著星星走來走去①，唱詩班也不準人隨便參加唱歌。有一回我在一家鋪子的櫥窗里看見些釣鉤擺著賣，都安好了釣絲，能釣各式各樣的魚，很不錯，有一個釣鉤甚至經得起一普特重的大鯰魚呢。我還看見幾家鋪子賣各式各樣的槍，跟老爺的槍差不多，每支槍恐怕要賣一百盧布。……肉鋪里有野烏雞，有松雞，有兔子，可是這些東西是在哪兒打來的，鋪子里的伙計卻不肯說。
「親愛的爺爺，等到老爺家裡擺著聖誕樹，上面掛著禮物，你就給我摘下一個用金紙包著的核桃，收在那口小綠箱子里。你問奧爾迦•伊格納捷耶芙娜小姐要吧，就說是給萬卡的。」
萬卡聲音發顫地嘆一口氣，又凝神瞧著窗子。他回想祖父總是到樹林里去給老爺家砍聖誕樹，帶著孫子一路去。那種時候可真快活啊！祖父咔咔地咳嗽，嚴寒把樹木凍得咔咔地響，萬卡就學他們的樣子也咔咔地叫。往往在砍樹以前，祖父先吸完一袋煙，聞很久的鼻煙，訕笑凍僵的萬卡。……那些做聖誕樹用的小雲杉披著白霜，站在那兒不動，等著看它們誰先死掉。冷不防，不知從哪兒來了一隻野兔，在雪堆上象箭似的竄過去。祖父忍不住叫道：「抓住它，抓住它，……抓住它！嘿，短尾巴鬼！」
祖父把砍倒的雲杉拖回老爺的家裡，大家就動手裝點它。
……忙得最起勁的是萬卡喜愛的奧爾迦•伊格納捷耶芙娜小姐。當初萬卡的母親彼拉蓋雅還活著，在老爺家裡做女僕的時候，奧爾迦•伊格納捷耶芙娜就常給萬卡糖果吃，閑著沒事做便教他念書，寫字，從一數到一百，甚至教他跳卡德里爾舞。可是等到彼拉蓋雅一死，孤兒萬卡就給送到僕人的廚房去跟祖父住在一起，後來又從廚房給送到莫斯科的靴匠阿里亞興的鋪子里來了。……
「你來吧，親愛的爺爺。」萬卡接著寫道，「我求你看在基督和上帝面上帶我離開這兒吧。你可憐我這個不幸的孤兒吧，這兒人人都打我，我餓得要命，氣悶得沒法說，老是哭。前幾天老闆用鞋楦頭打我，把我打得昏倒在地，好不容易才活過來。我的生活苦透了，比狗都不如。……替我問候阿遼娜、獨眼的葉果爾卡、馬車夫，我的手風琴不要送給外人。孫伊凡•茹科夫草上。親愛的爺爺，你來吧。」
萬卡把這張寫好的紙疊成四折，把它放在昨天晚上花一個戈比買來的信封里。……他略為想一想，用鋼筆蘸一下墨水，寫下地址：
寄交鄉下祖父收
然後他搔一下頭皮，再想一想，添了幾個字：
康司坦丁•瑪卡雷奇
他寫完信而沒有人來打擾，心裡感到滿意，就戴上帽子，顧不上披皮襖，只穿著襯衫就跑到街上去了。……
昨天晚上他問過肉鋪的伙計，伙計告訴他說，信件丟進郵筒以後，就由醉醺醺的車夫駕著郵車，把信從郵筒里收走，響起鈴鐺，分送到世界各地去。萬卡跑到就近的一個郵筒，把那封寶貴的信塞進了筒口。……
他抱著美好的希望而定下心來，過了一個鍾頭，就睡熟了。……在夢中他看見一個爐灶。祖父坐在爐台上，耷拉著一雙光腳，給廚娘們念信。……泥鰍在爐灶旁邊走來走去，搖尾巴。……
①指基督教的習俗：聖誕節前夜小孩們舉著用簿紙糊的星星走來走去

㈣ 5本又薄又好看的短篇小說集,最適合打發零碎時間！

如果你總是覺得自己的零碎時間想要讀點東西，但又不知道該讀什麼，那麼這5本短篇小說集絕對值得你一讀！它們不僅短小精悍，而且非常好看，每一篇都是經典之作，讀完後，你一定會回味無窮，想要再次翻閱。

1、《機器人短篇全集》

作者：阿西莫夫 豆瓣評分：9.3

在科幻的世界裡，阿西莫夫的地位如同神明一般崇高！他榮獲了7次雨果獎和兩次星雲獎，他的傑出貢獻無人能及。而他首創的機器人三大法則，更是對機器人小說的創作產生了深遠的影響，並成為了機器人研究領域的經典理論。這三個法則分別是：機器人不能傷害人類；機器人必須服從人類命令；機器人必須保護自己。而本小說集就是以這三大法則為基礎，創作了一系列引人入勝的故事。這些故事探討了機器人是否擁有人性，如何與人相愛，以及如何與人類社會共存等議題。當你一口氣讀完整部小說後，你會被其中的奇思妙想所震撼，彷彿置身於璀璨的星空之中，無窮無盡。同時，故事中理性與情感的糾葛也讓人沉醉其中，讓每一個科幻迷都為之贊嘆不已！

2、《杜撰集》

作者：博爾赫斯 豆瓣評分：9.1

即使在群星璀璨的世界文壇上，博爾赫斯依然是最為耀眼的一顆！我覺得，這部小說集是他才華最充分的展現。這部小說集共收錄了9篇作品，涵蓋了推理、文學、愛情、生活、夢想等各種常見題材，但每一篇都暗藏玄機，不落俗套。以博爾赫斯最喜歡的小說《南方》為例，故事講述了一個主人公因高燒不斷、噩夢連連，決定回鄉下庄園休養。然而，在旅途中他捲入了一場決斗，並死於對手的刀下。但故事到此突然轉折，博爾赫斯提出了一個問題：這究竟是真實發生的事情，還是主人公的另一場夢呢？這種現實與夢幻交錯的設定，讓人不禁想到莊周夢蝶的故事。而博爾赫斯通過這個故事引出了對人存在無限可能性的解讀，這種震撼直沖顱頂，讓人覺得作者就躲在文字背後不可一世的笑！

3、《木麻黃樹》

作者：毛姆 豆瓣評分：8.8

經典又好看的小說怎麼能少得了毛姆的手筆！在我心裡，他是少數幾個不受翻譯影響而能充分展現原著魅力的作家之一。這部小說集收集了他一生中最好的6篇短篇小說，故事的主人公都是殖民者。他們遠離西方文明世界，深入潮濕、悶熱、原始的叢林中，兩種世界的落差讓人的理性被不斷壓抑，野蠻、慾念、恐懼種種惡念不斷滋生。在整部小說里，你會看到形形色態的惡，出軌的男人、通姦的妻子、傲慢的貴族、背信的同伴……然而，毛姆不愧是最懂人性的講故事高手，不僅把這些看似常見的情節描述得懸念重生，讓人心頭一緊。他在那些曲折的故事背後，揭示了幽深復雜的人性，更是讓你觸目驚心，大開眼界！

4、《人間椅子》

作者：江戶川亂步 豆瓣評分：8.2

日式懸疑驚悚的巔峰之作，讓你真正領略到什麼是細思極恐！想像一下，你房間的椅子里可能藏著一個正在偷窺你一舉一動的人。又或者，丈夫因戰爭成為沒有四肢不能講話的「芋蟲」，作為妻子該如何與他日日相處？再或者，一間旅館的同一個套房內，入住者竟然連續自殺？作者江戶川亂步被譽為日本推理小說之父，他用8個日式驚悚經典作品，將人的貪婪、慾望、罪惡分毫畢現地展露在面前。每個故事都精彩到勾得你心癢難耐，每個故事都變態到讓你懷疑自己的眼睛。而那種從字里行間滲透出來的涼意，會讓你哪怕是在寒冬臘月，依舊驚起一身冷汗！如果你熱愛懸疑小說，如果你喜歡挑戰自己的想像力和承受力，那麼這部作品絕對是你的不二之選。它將帶你進入一個充滿神秘和恐怖的世界，在閱讀的過程中不斷猜測、不斷驚訝、不斷感嘆。

5、《鮮花盛開的森林》

作者：三島由紀夫 豆瓣評分：8.2

三島由紀夫，這位寫下現象級暢銷作品《金閣寺》的日本文學天才，在他生前親自編選了這部短篇小說集。13個短篇故事，13種末路人生，將三島推崇的死亡美學演繹得淋漓盡致。在《憂國》這個故事中，一對恩愛無比的夫婦成為了故事的主角。然而，身為軍人的丈夫，面對國家與道義的兩難抉擇，最終決定用剖腹自殺的方式以身殉道。三島由紀夫的描繪讓這一過程顯得極盡真實而凄美，彷彿他曾親身經歷過一般。讀完這部小說集，你會發現三島由紀夫的文字就像一把瑰麗又尖銳的刀刃，他將世界不可思議的美和殘暴一一切開，讓人讀到最後發現，死並非生的對立面，它恰恰作為生的一部分永存。這部小說集不僅展示了三島由紀夫對死亡美學的獨特見解，還揭示了他對人性、道德和生命的深刻思考。每個故事都充滿了三島由紀夫獨特的藝術風格和哲學思考，讓讀者在享受故事的同時也能感受到他對文學的熱愛和對生命的敬畏。

㈤ [希區柯克] 讀懂這篇小說的幫我解析一下（超短篇）

凱倫的嫂子會在游泳的時候殺了她的,用那雙強壯有力的手臂,就醬紫。

全文：希區柯克《向自己說再見》

凱倫那年九歲，個子小小的，皮膚黑黑的，是個近視眼。她沒有朋友，和哥哥嫂嫂住在一起。
哥哥比她大二十歲，一雙眼睛離得很緊，一副愁眉苦臉的樣子。他們家的人都長得不好看。
嫂嫂以前很漂亮，可是她越來越胖，當她穿上比基尼泳裝時，活像個摔跤選手。凱倫非常想擁有一套比基尼泳裝，但嫂嫂不肯給她買。凱倫常常想，如果她有一套比基尼泳裝的話，到海濱就不怕水了。
凱倫七歲時，有一天爸爸媽媽一起出去購物，結果，他們再也沒有回來。嫂嫂說，因為有人搶劫銀行，
那人像瘋子一樣亂開槍，把爸爸媽媽打死了。

在爸爸媽媽外出購物前，凱倫知道自己必須向他們說再見。她先慢慢地、清晰地跟媽媽說再見，然後現跟爸爸說再見，但當時沒有人注意到什麼。只是事後哥哥記起來，對嫂子說：「小妹向爸爸媽媽說再見的樣子，就像她早知道會出事一樣。」
嫂子說：「天哪，她怎麼可能知道呢！別瞎說了。」她停了一下，若有所思地說，「不過，我想，今後她的一舉一動，都要由我們負責了。」
嫂子說這話時，顯得很不高興。
搬回來和哥哥嫂嫂同住之後，有一天晚上，凱倫知道，她必須向嫂嫂的弟弟說再見。那天他正在客廳里和哥哥嫂嫂玩紙牌。嫂嫂抬頭看見凱倫走過來，說：「凱倫，你不能自己上床去睡覺嗎？」凱倫好像沒有聽到嫂嫂的話，徑直走到嫂嫂的弟弟面前，筆直地站著，雙手放在前面，就像在學校里唱聖歌時，法勒老師教的那種站姿。
她慢慢地、清晰地對狄克——嫂嫂的弟弟——說了聲「再見」，而嫂嫂的臉上露出一種怪怪的神色。
狄克沒有抬頭，仍然玩著牌，說：「晚安，小傢伙。」
第二天晚上，凱倫再見到他時，他已經患一種叫做「腹臘炎」的急病死了。
嫂嫂對哥哥說：「昨晚你聽沒聽到她怎樣向狄克說再見的？」
哥哥喘著氣說：「我早告訴過你，這個小傢伙古里古怪的。她的怪異讓我害怕，我真想知道她下一次要向誰說再見？」哥哥的氣喘病又犯了。
嫂嫂安慰哥哥說：「好了，寶貝，好了，先安靜下來。」
這時，凱倫從後門走出來，她一直躲在那兒偷聽。她說：「別擔心，哥哥，你沒有事。」
哥哥被她的舉動嚇得臉上都起了雞皮疙瘩，唇色也變藍了。他壓低聲音問凱倫：「你怎麼知道？」
多笨的問題，凱倫想，好像如果我知道，我會告訴他一樣。
嫂嫂彎下身來，湊近凱倫的臉，凱倫甚至可以聞到她吐出來的煙味、酒味和大蒜味。嫂嫂皺著眉頭，嚴肅地說：「以後不許再向任何人說再見！不許再說！」
問題是，凱倫忍不住會說。
這以後，有一段時間事情還算順利。凱倫以為，也許哥哥嫂嫂已經把事情全都忘光了，但是嫂嫂仍不肯給她買一套比基尼。
後來，有一天在學校里，凱倫知道她必須向她的同學巴利、愛瑪、蘇茜和麗茲說「再見」。凱倫雙掌合十，慢慢地、清晰地向她們說再見。
法勒老師奇怪地問：「天哪，凱倫，為什麼要這么莊重？」
凱倫說：「嗯，你看，他們就要死了。」
「凱倫，你真是個殘酷古怪的孩子，你不應該說這種話。你瞧，你傷害了蘇茜，看著她哭泣，並不是件有趣的事情。」說著，法勒老師招呼蘇茜，」上車去吧，一會兒就到家，到了家就平安了。「
於是，蘇茜擦乾眼淚，跟在巴利、愛瑪和麗茲的後面上了汽車，坐在愛瑪母親的旁邊，因為那個星期輪到愛瑪的母親開車接送孩子。
那是凱倫最後一次看到她們。因為汽車在山路行駛時，滑到路旁然後滾到下面的山谷，爆炸。
第二天沒有上課，大家都去參加葬禮，為她們唱歌，在墳墓上撒花。
沒有人喜歡站在凱倫身旁。
葬禮完畢之後，法勒老師來看嫂嫂。
在會客廳，凱倫向老師說：」晚安。「老師回答了，但是眼睛沒有看凱倫，他的呼吸有些急促。嫂嫂
對凱倫說：」好了，上樓做你的功課去吧。「把凱倫打發出去。
當法勒老師離開之後，嫂嫂把凱倫叫進去。她說：「我不是告訴過你嗎？千萬千萬不能再跟任何人說
『再見』！」
她緊緊地抓住凱倫，眼睛裡的怒火好像在燃燒。她扭住凱倫的手臂，扭得很痛。凱倫尖叫道：「別扭我，求求你，別扭我。」
但是她繼續扭，一直扭著。於是凱倫說：「假如你不放手的話，我要向哥哥說再見。」
那是凱倫能想到惟一能叫她住手的辦法。
她立刻停止扭凱倫的手臂，不過沒有放手。她說：「哦，天哪，你意思是說，你能夠讓別人死亡。」
凱倫當然不能，但她不告訴嫂嫂，深怕她再弄疼自己，所以凱倫說：「是的，我能夠。」
嫂嫂猛地放開凱倫，她一下子倒在地上。
「你沒事吧？我是不是弄疼你了？凱倫。」嫂嫂急切地問。
凱倫揉著很痛的胳膊，說：「是的，很疼，你最好別在這樣粗暴地對我。」
嫂嫂說：「我只是想和你開個玩笑，我不是真心的。」
於是，凱倫知道嫂嫂懼怕自己。
凱倫說：「我要一套黃色的比基尼，因為我喜歡黃色。」
嫂嫂說，「凱倫，你知道，我們得節約開支。」
「你要不要我對哥哥說『再見』？」凱倫斜著眼睛悄悄觀察嫂嫂的反應。
嫂嫂靠到牆上，閉上雙眼，笑著說：「我們明天去海濱好嗎？我們帶午餐去。」
「你的意思是說，我可以買一套新比基尼泳衣？」
嫂嫂說：「對，你想要什麼都行。」
於是，那天下午他們一起去買了一套黃色的比基尼。第二天早上，嫂嫂在廚房做了許多野餐用的食品：炸雞、沙拉、巧克力蛋糕和圓糖果。她問：「凱倫，這些夠嗎？」
凱倫說：「太棒了，現在我有比基尼穿，我不怕海浪了。」
嫂嫂大笑起來，把午餐籃提到汽車上。她有著一雙強壯有力的手臂。她說：「是的，我想你不會再懼怕海浪了。」
然後凱倫上了樓，回到卧室，把新買的比基尼穿上，泳衣非常合身。她走到鏡子前，得意地轉了幾個圈，左看右看，然後，很莊重地雙掌合十，心中湧起一種奇怪的感覺，她慢慢地、清晰地對鏡中人說：「再見，凱倫，再見，凱倫，再見！再見！」

㈥ 急需一個英文短篇小說 500〜800字！求快！要原創型的！

El Sordo was making his fight on a hilltop. He did not like this hill and when he saw it he thought it had the shape of a chancre. But he had had no choice except this hill and he had picked it as far away as he could see it and galloped for it, the automatic rifle heavy on his back, the horse laboring, barrel heaving between his thighs, the sack of grenades swinging against one side, the sack of automatic rifle pans banging against the other, and Joaqu璯 and Ignacio halting and firing, halting and firing to give him time to get the gun in place.
There had still been snow then, the snow that had ruined them, and when his horse was hit so that he wheezed in a slow, jerking, climbing stagger up the last part of the crest, splattering the snow with a bright, pulsing jet, Sordo had hauled him along by the bridle, the reins over his shoulder as he climbed. He climbed as hard as he could with the bullets spatting on the rocks, with the two sacks heavy on his shoulders, and then, holding the horse by the mane, had shot him quickly, expertly, and tenderly just where he had needed him, so that the horse pitched, head forward down to plug a gap between two rocks. He had gotten the gun to firing over the horse's back and he fired two pans, the gun clattering, the empty shells pitching into the snow, the smell of burnt hair from the burnt hide where the hot muzzle rested, him firing at what came up to the hill, forcing them to scatter for cover, while all the time there was a chill in his back from not knowing what was behind him. Once the last of the five men had reached the hilltop the chill went out of his back and he had saved the pans he had left until he would need them.
There were two more horses dead along the slope and three more were dead here on the hilltop. He had only succeeded in stealing three horses last night and one had bolted when they tried to mount him bareback in the corral at the camp when the first shooting had started.
Of the five men who had reached the hilltop three were wounded. Sordo was wounded in the calf of his leg and in two places in his left arm. He was very thirsty, his wounds had stiffened, and one of the wounds in his left arm was very painful. He also had a bad headache and as he lay waiting for the planes to come he thought of a joke in Spanish. It was, "_Hay que tomar la muerte como si fuera aspirina_," which means, "You will have to take death as an aspirin." But he did not make the joke aloud. He grinned somewhere inside the pain in his head and inside the nausea that came whenever he moved his arm and looked around at what there was left of his band.
The five men were spread out like the points of a five-pointed star. They had g with their knees and hands and made mounds in front of their heads and shoulders with the dirt and piles of stones. Using this cover, they were linking the indivial mounds up with stones and dirt. Joaqu璯, who was eighteen years old, had a steel helmet that he g with and he passed dirt in it.
He had gotten this helmet at the blowing up of the train. It had a bullet hole through it and every one had always joked at him for keeping it. But he had hammered the jagged edges of the bullet hole smooth and driven a wooden plug into it and then cut the plug off and smoothed it even with the metal inside the helmet.
When the shooting started he had clapped this helmet on his head so hard it banged his head as though he had been hit with a casserole and, in the last lung-aching, leg-dead, mouth-dry, bulletspatting, bullet-cracking, bullet-singing run up the final slope of the hill after his horse was killed, the helmet had seemed to weigh a great amount and to ring his bursting forehead with an iron band. But he had kept it. Now he g with it in a steady, almost machinelike desperation. He had not yet been hit.
"It serves for something finally," Sordo said to him in his deep, throaty voice.
"_Resistir y fortificar es vencer_," Joaqu璯 said, his mouth stiff with the dryness of fear which surpassed the normal thirst of battle. It was one of the slogans of the Communist party and it meant, "Hold out and fortify, and you will win."
Sordo looked away and down the slope at where a cavalryman was sniping from behind a boulder. He was very fond of this boy and he was in no mood for slogans.
"What did you say?"
One of the men turned from the building that he was doing. This man was lying flat on his face, reaching carefully up with his hands to put a rock in place while keeping his chin flat against the ground.
Joaqu璯 repeated the slogan in his dried-up boy's voice without checking his digging for a moment.
"What was the last word?" the man with his chin on the ground asked.
"_Vencer_," the boy said. "Win."
"_Mierda_," the man with his chin on the ground said.
"There is another that applies to here," Joaqu璯 said, bringing them out as though they were talismans, "Pasionaria says it is better to die on your feet than to live on your knees."
"_Mierda_ again," the man said and another man said, over his shoulder, "We're on our bellies, not our knees."
"Thou. Communist. Do you know your Pasionaria has a son thy age in Russia since the start of the movement?"
"It's a lie," Joaqu璯 said.
"_Qu?va_, it's a lie," the other said. "The dynamiter with the rare name told me. He was of thy party, too. Why should he lie?"
"It's a lie," Joaqu璯 said. "She would not do such a thing as keep a son hidden in Russia out of the war."
"I wish I were in Russia," another of Sordo's men said. "Will not thy Pasionaria send me now from here to Russia, Communist?"
"If thou believest so much in thy Pasionaria, get her to get us off this hill," one of the men who had a bandaged thigh said.
"The fascists will do that," the man with his chin in the dirt said.
"Do not speak thus," Joaqu璯 said to him.
"Wipe the pap of your mother's breasts off thy lips and give me a hatful of that dirt," the man with his chin on the ground said. "No one of us will see the sun go down this night."
El Sordo was thinking: It is shaped like a chancre. Or the breast of a young girl with no nipple. Or the top cone of a volcano. You have never seen a volcano, he thought. Nor will you ever see one. And this hill is like a chancre. Let the volcanos alone. It's late now for the volcanos.
He looked very carefully around the withers of the dead horse and there was a quick hammering of firing from behind a boulder well down the slope and he heard the bullets from the submachine gun thud into the horse. He crawled along behind the horse and looked out of the angle between the horse's hindquarters and the rock. There were three bodies on the slope just below him where they had fallen when the fascists had rushed the crest under cover of the automatic rifle and submachine gunfire and he and the others had broken down the attack by throwing and rolling down hand grenades. There were other bodies that he could not see on the other sides of the hill crest. There was no dead ground by which attackers could approach the summit and Sordo knew that as long as his ammunition and grenades held out and he had as many as four men they could not get him out of there unless they brought up a trench mortar. He did not know whether they had sent to La Granja for a trench mortar. Perhaps they had not, because surely, soon, the planes would come. It had been four hours since the observation plane had flown over them.
This hill is truly like a chancre, Sordo thought, and we are the very pus of it. But we killed many when they made that stupidness. How could they think that they would take us thus? They have such modern armament that they lose all their sense with overconfidence. He had killed the young officer who had led the assault with a grenade that had gone bouncing and rolling down the slope as they came up it, running, bent half over. In the yellow flash and gray roar of smoke he had seen the officer dive forward to where he lay now like a heavy, broken bundle of old clothing marking the farthest point that the assault had reached. Sordo looked at this body and then, down the hill, at the others.
They are brave but stupid people, he thought. But they have sense enough now not to attack us again until the planes come. Unless, of course, they have a mortar coming. It would be easy with a mortar. The mortar was the normal thing and he knew that they would die as soon as a mortar came up, but when he thought of the planes coming up he felt as naked on that hilltop as though all of his clothing and even his skin had been removed. There is no nakeder thing than I feel, he thought. A flayed rabbit is as well covered as a bear in comparison. But why should they bring planes? They could get us out of here with a trench mortar easily. They are proud of their planes, though, and they will probably bring them. Just as they were so proud of their automatic weapons that they made that stupidness. But undoubtedly they must have sent for a mortar too.
One of the men fired. Then jerked the bolt and fired again, quickly.
"Save thy cartridges," Sordo said.
"One of the sons of the great whore tried to reach that boulder," the man pointed.
"Did you hit him?" Sordo asked, turning his head with difficulty.
"Nay," the man said. "The fornicator cked back."
"Who is a whore of whores is Pilar," the man with his chin in the dirt said. "That whore knows we are dying here."
"She could do no good," Sordo said. The man had spoken on the side of his good ear and he had heard him without turning his head. "What could she do?"
"Take these sluts from the rear."
"_Qu?va_," Sordo said. "They are spread around a hillside. How would she come on them? There are a hundred and fifty of them. Maybe more now."
"But if we hold out until dark," Joaqu璯 said.
"And if Christmas comes on Easter," the man with his chin on the ground said.
"And if thy aunt had _cojones_ she would be thy uncle," another said to him. "Send for thy Pasionaria. She alone can help us."
"I do not believe that about the son," Joaqu璯 said. "Or if he is there he is training to be an aviator or something of that sort."
"He is hidden there for safety," the man told him.
"He is studying dialectics. Thy Pasionaria has been there. So have Lister and Modesto and others. The one with the rare name told me."
"That they should go to study and return to aid us," Joaqu璯 said.
"That they should aid us now," another man said. "That all the cruts of Russian sucking swindlers should aid us now." He fired and said, "_Me cago en tal_; I missed him again."
"Save thy cartridges and do not talk so much or thou wilt be very thirsty," Sordo said. "There is no water on this hill."
"Take this," the man said and rolling on his side he pulled a wineskin that he wore slung from his shoulder over his head and handed it to Sordo. "Wash thy mouth out, old one. Thou must have much thirst with thy wounds."
"Let all take it," Sordo said.
"Then I will have some first," the owner said and squirted a long stream into his mouth before he handed the leather bottle around.
"Sordo, when thinkest thou the planes will come?" the man with his chin in the dirt asked.
"Any time," said Sordo. "They should have come before."
"Do you think these sons of the great whore will attack again?"
"Only if the planes do not come."
He did not think there was any need to speak about the mortar. They would know it soon enough when the mortar came.
"God knows they've enough planes with what we saw yesterday."
"Too many," Sordo said.
His head hurt very much and his arm was stiffening so that the pain of moving it was almost unbearable. He looked up at the bright, high, blue early summer sky as he raised the leather wine bottle with his good arm. He was fifty-two years old and he was sure this was the last time he would see that sky.
He was not at all afraid of dying but he was angry at being trapped on this hill which was only utilizable as a place to die. If we could have gotten clear, he thought. If we could have made them come up the long valley or if we could have broken loose across the road it would have been all right. But this chancre of a hill. We must use it as well as we can and we have used it very well so far.
If he had known how many men in history have had to use a hill to die on it would not have cheered him any for, in the moment he was passing through, men are not impressed by what has happened to other men in similar circumstances any more than a widow of one day is helped by the knowledge that other loved husbands have died. Whether one has fear of it or not, one's death is difficult to accept. Sordo had accepted it but there was no sweetness in its acceptance even at fifty-two, with three wounds and him surrounded on a hill.
He joked about it to himself but he looked at the sky and at the far mountains and he swallowed the wine and he did not want it. If one must die, he thought, and clearly one must, I can die. But I hate it.
Dying was nothing and he had no picture of it nor fear of it in his mind. But living was a field of grain blowing in the wind on the side of a hill. Living was a hawk in the sky. Living was an earthen jar of water in the st of the threshing with the grain flailed out and the chaff blowing. Living was a horse between your legs and a carbine under one leg and a hill and a valley and a stream with trees along it and the far side of the valley and the hills beyond.

㈦ 求一短篇外國愛情小說的名字

《荊棘鳥(The Thorn Birds)》是一部由澳大利亞作家科林·麥科克利創作的小說，首次出版於1977年。這部小說以其深刻的情感描繪和復雜的人物關系而著稱。故事發生在澳大利亞的一個鄉村，主要講述了麥卡洛一家的故事，尤其是女主人公梅吉與堂兄查爾斯的愛情故事。梅吉美麗且堅強，她的愛情故事充滿了挑戰與掙扎。小說不僅探討了愛情的甜蜜與苦澀，還深刻揭示了家庭、信仰和犧牲的主題。《荊棘鳥》被改編成電影和電視劇，深受讀者喜愛。

這部作品的背景設定在澳大利亞的鄉村，展現了20世紀初到二戰結束期間的社會變遷。小說通過梅吉的成長經歷，揭示了愛情、家庭、信仰之間的微妙關系。梅吉與查爾斯的愛情故事，是一段充滿了荊棘與痛苦的旅程。兩人經歷了種種困難，包括社會觀念的阻礙和家庭的反對，但他們的愛情始終如一，充滿了激情與執著。

科林·麥科克利以細膩的筆觸，描繪了梅吉和查爾斯的愛情故事。他們的關系經歷了從青澀到成熟，再到最終的悲劇。小說中，梅吉的堅韌與查爾斯的溫柔相互映襯，他們的愛情故事成為了一段永恆的傳奇。《荊棘鳥》不僅僅是一部愛情小說，更是一部描繪人性和情感的深刻作品。它通過豐富的細節和深刻的情感描繪，展現了愛情的復雜性和人生的多面性。

《荊棘鳥》自出版以來，受到了廣泛的贊譽。它不僅在澳大利亞，也在全球范圍內贏得了無數讀者的喜愛。這部小說的成功，不僅在於其引人入勝的故事和深刻的人物刻畫，還在於它對人性的深刻探討。它讓我們反思愛情的本質，以及我們在追求真愛的過程中可能面臨的挑戰和犧牲。《荊棘鳥》是一部值得一讀再讀的經典之作。

㈧ 求幾本外國短篇小說，要短的！！越短越好

莫泊桑短篇小說集
契訶夫短篇小說集
茨威格短篇小說集
馬克.吐溫短篇小說集

竊賊(阿·康帕尼爾)
情書(岩井俊二)
永遠佔有(格雷厄姆·格林)
化石街(島田莊司)
棋逢對手(西瑞爾·哈爾)
首領(卡拉維洛夫)
熱愛生命(傑克·倫敦)
螞蟻 (博里斯·維昂)
蠢豬 (馬萊巴)
品酒 (羅·達爾)
打不碎的雞蛋 (馬萊巴)
勞駕，快點！(圖戈依)
品酒 (羅·達爾)

㈨ 外國的短篇小說有哪些

外國的短篇小說有很多，其中比較著名的包括：

一、《最後一課》

《最後一課》是法國作家阿爾豐斯·都德創作的短篇小說。 這是一部非常著名的描寫普法戰爭題材的小說，講述了主人公小弗朗士在普法戰爭期間最後一堂法語課的經歷。這篇小說通過描寫主人公的心理活動和所見所聞，展現了戰爭對人們生活的深刻影響。它不僅反映了戰爭對人類的殘酷，也展現了人性的光輝和堅強。

二、《項鏈》

《項鏈》是法國作家莫泊桑創作的短篇小說。 這是一部描寫女主角因一夜狂歡而導致命運巨變的故事。小說通過對女主角借項鏈、丟項鏈、賠項鏈和發現項鏈真相等情節的描寫，展現了人性的復雜和殘酷現實。同時，也通過對虛榮的批判和對誠實勞動的態度表達了對社會現實的深刻反思。

三、《麥琪的禮物》

《麥琪的禮物》是美國作家歐·亨利創作的短篇小說。 這是一部以聖誕夜為背景的感人故事，描述了主人公為了給對方一份心意而付出的努力和犧牲。小說中通過故事情節的展開和對人物形象的刻畫，展現了愛情的偉大和人性的善良。同時，也揭示了社會現實的殘酷和人性的陰暗面。

四、《羊脂球》

《羊脂球》也是莫泊桑的經典短篇小說之一。 它講述了主人公和其他身份不同的人一同乘車逃亡的過程中發生的故事。通過對羊脂球以及與之關聯的不同階層人物的刻畫和描寫，揭示了社會等級制度和人性的弱點。小說以羊脂球為線索，生動地展現了當時法國社會的復雜面貌和人性的復雜多樣性。這篇小說也被認為是莫泊桑短篇小說的代表作之一。

這些短篇小說都以獨特的情節和人物形象生動地反映了人性與社會現實的矛盾沖突和變遷，給讀者帶來了深刻的思考和啟示。