最新的英語短篇小說

❶ 求1000字以內英語短篇小說！

《蒙娜麗莎》風波

On Tuesday August 11th, 1911, a young artist, Louis Beraud, arrived at the Louvre（盧浮宮） in Paris to complete a painting of the Salon Carre（卡雷沙龍，盧浮宮的畫廊名）. This was the room where the world 's most famous painting, the Mona Lisa by Leonardo da Vinci（列奧那多·達·芬奇）, was on display. To his surprise there was an empty space where the painting should have been. At 11 o'clock the museum authorities realized that the painting had been stolen. The next day headlines all over the world announced the theft.

這一天是1911年8月11日，星期二，一位年輕的藝術家路易斯·貝勞德來到了巴黎盧浮宮的卡雷沙龍畫廊完成一幅油畫，在這條畫廊里陳列著世界上最著名的油畫——列奧納多·達·芬奇創作的《蒙娜麗莎》。令路易斯感到吃驚的是，本該掛著油畫的地方卻是空空盪盪的。中午11時博物館館方意識到這幅名畫已經被盜了。第二天全球各大報刊的頭條新聞都報道了《蒙娜麗莎》被盜的消息。

Actually the Leonardo had been gone for more than twenty-four hours before anyone noticed it was missing. The museum was always closed on Mondays for maintenance（維修）. Just before closing time on Sunday three men had entered the museum, where they had hidden themselves in a storeroom. The actual theft was quick and simple. Early the next morning Perrugia removed the painting from the wall while the others kept watch. Then they went out a back exit.

實際上，直到達·芬奇的這幅畫被盜24小時後才有人發現此事。每逢星期一盧浮宮都要閉館例行保養文物。就在星期天，有三個人進入了博物館並藏在貯藏室里。他們的盜竊行動迅速而簡單，第二天一大早，三個盜賊之一佩魯吉亞從牆上取下《蒙娜麗莎》，其餘兩個為他望風，然後他們從後門溜走逃得無影無蹤了。

Nothing was seen or heard of the painting for two years when Perrugia tried to sell it to a dealer for half a million lire（里拉）. Perrugia was arrested on December 13th. Perrugia claimed he had stolen it as an act of patriotism（愛國主義）, because, he said, the painting had been looted from the Italian nation by Napoleon（拿破崙）. Perrugia was imprisoned for seven months. It seemed that the crime of the century had been solved.

《蒙娜麗莎》在被盜後的兩年間一直杳無音迅，直到有一天佩魯吉亞想以50萬里拉賣給一個文物販子時，人們才重新見到它。佩魯吉亞於1913年12月13日被捕，他宣稱偷《蒙娜麗莎》之舉完全是出於愛國心。他說，盧浮宮的這幅畫是被拿破崙從義大利搶劫來的。佩魯吉亞為此被判了7個月的監禁，看來這個世紀奇案好像是解決了。

But had it? Perrugia was keen to claim all responsibility for the theft, and it was twenty years before the whole story came out. In fact Perrugia had been working for two master criminals, Valfierno and Chaudron, who went unpunished for their crime. They would offer to steal a famous painting from a gallery for a crooked（不誠實的） dealer or an unscrupulous（肆無忌憚的） private collector. They would then make a of the picture and, with the help of bribed gallery attendants（服務員）, would then tape the to the back of the original（原始的） painting. The dealer would then be taken to the gallery and would be invited to make a secret mark on the back of the painting. Of course the dealer would actually be marking the . Valfierno would later proce forged（偽造） newspaper cuttings announcing the theft of the original, and then proce the , complete with secret marking. If the dealer were to see the painting still in the gallery, he would be persuaded that it was a , and that he possessed the genuine（真正的） one.

果真如此嗎?佩魯吉亞試圖把這次盜竊案的全部責任都攬到自己身上。直到二十年後，整個事件的真相才大白於天下。事實上，佩魯吉亞一直在為兩個犯罪頭目瓦爾菲爾諾和肖德龍工作。在這個案件中，另兩個傢伙一直逍遙法外。瓦爾菲爾諾和肖德龍經常從陳列館偷竊名畫提供給奸詐的商人或肆無忌憚的私人收藏家。他們先製作名畫的贗品，然後向博物館的工作人員行賄，以便在博物館工作人員的協助下將偽造品粘在原作的背後，爾後他們再將文物販子帶到陳列室，並要他在要買的那幅畫的背面做上秘密的記號。當然，事實上文物販子只是在贗品的背面作記號。在此之後，瓦爾菲爾諾就偽造一些剪報宣稱原作被盜，然後拿出帶有秘密記號的贗品。如果買畫的販子看見畫仍然在展出，偷盜者將說服他相信展出的畫是贗品，而賣給他的才是真正的原作。

Chaudron then painted not one, but six copies of the Mona Lisa, using 400-year-old wood panels from antique Italian furniture. The forgeries（贗品） were carefully aged, so that the varnish（光澤） was cracked and dirty. Valfierno commissioned Perrugia to steal the original, and told him to hide it until Valfierno contacted him. Perrugia waited in vain in a tiny room in Paris with the painting, but heard nothing from his partners in crime. They had gone to New York, where the six copies were already in store. They had sent them there before the original was stolen. At that time it was quite common for artists to old masters, which would be sold quite honestly（合法的） as imitations（仿造品）, so there had been no problems with US Customs. Valfierno went on to sell all six copies for '300,OOO each. Valfierno told the story to a journalist in 1914, on condition that it would not be published until his death.

肖德龍不僅偽造了一幅，而是六幅《蒙娜麗莎》。他用400年前古義大利老傢具做油畫板，所有贗品均經過了細心的老化處理，以使油畫表面產生裂縫顯得不幹凈。瓦爾菲爾諾指派佩魯吉亞盜走《蒙娜麗莎》的真品並叫他躲藏起來直到與他取得聯系。佩魯吉亞一直帶者那幅畫首在巴黎的一間小屋裡，可是他卻一直未見同夥們的蹤跡。原來瓦爾菲爾諾和肖德龍早已跑到了紐約，那裡儲存著六幅《蒙娜麗莎》的贗品。他們在原作被盜前就已將贗品運到了美國。在那個時代，藝術家們復制已故大師的作品是司空見慣的事情，而且復製品還能夠合法地在市場上進行交易，因此復製品可以毫不費力地通過美國海關。在美國瓦爾菲爾諾以每幅300，000美元的價格陸續將這六幅《蒙娜麗莎》贗品出售。1914年瓦爾菲爾諾將事件真相透露給了一位記者，條件是只有等到他死後才能將此事公之於眾。

Does the story end there? Collectors have claimed that Perrugia returned a . It is also possible that Leonardo may have painted several versions of the Mona Lisa, or they might be copies made by Leonardo's pupils. There has been a lot of controversy and argument about a 450-year-old painting, but after all, maybe that's what she's smiling about.

事情就此了解了嗎?收藏專家們宣稱佩魯吉亞還回的《蒙娜麗莎》或許是贗品。或許當初達·芬奇創作了幾個不同版本的《蒙娜麗莎》；或許這些《蒙娜麗莎》皆為達·芬奇的學生們製作的復製品。因此迄今為止人們對於這幅有著450年左右歷史的名畫，仍有著諸多的爭議。也許，這就是蒙娜麗莎微笑的原因吧！

❷ 有什麼英語短篇小說推薦

1. 「A Good Man is Hard to Find,」 Flannery O』Connor

Few short stories have stuck with us as much as this one, which is probably O'Connor's most famous work — and with good reason. The Misfit is one of the most alarming serial killers we've ever met, all the more so for his politeness, and the story』s moral is so striking and terrifying that — whether you subscribe to the religious undertones or not — a reader is likely to finish and begin to reexamine their entire existence. Or at least we did, the first time we read it.
《好人難尋》這篇小說是奧康納最為著名的作品，很少有其他短篇小說能像這篇一樣給我們帶來震撼。無論你是否能明了宗教般的潛在含義，看完這篇小說讀者都會開始或是結束對存在的檢視。

2. 「The School,」 Donald Barthelme

This story is very short, but pretty much perfect in every way. Though Barthelme is known for his playful, post modern style, we admire him for his ability to shape a world so clearly from so few words, chosen expertly. Barthelme never over explains, never uses one syllable too many, but effortlessly leads the reader right where he wants her to be. It's funny, it's absurdist, it's sad, it's enormous even in its smallness. It may be this writer』s favorite story of all time. You should read it.
這篇小說很短，但是堪稱完美。巴塞爾姆的優秀就在於他能用精選的極少幾個文字就為我們敘述了一個世界。他很少過多地解釋，就把讀者帶到了他想要你去地方。

3. 「In The Penal Colony,」 Franz Kafka

Kafka called this one his「dirty story,」and thought it imperfect, but it's one of our favorites of his (though we also recommend 「The Hunger Artist」and「A Country Doctor」). It's so obviously a story about writing, in some ultimate way — a machine punishes its victims by writing on them over and over until their bodies give out — but its as if, while the body is the source of every problem in the tale, every weakness, it is also the only place where true knowledge can be translated.
卡夫卡稱自己的這篇小說是一個「很臟的故事」，認為並不完美，但是這個短篇確實我們的最愛之一。在小說中，我們可以體會到，身體是一切問題和弱點的根源，但身體也是唯一能轉化真知的地方。

4. 「Signs and Symbols,」Vladimir Nabokov

Another short one, we revere this story for its ability to turn every tiny detail into a portentous disaster, not to mention the fact that it's penned in Nabokov's effortlessly gorgeous, silvery prose. An old Jewish couple goes to visit their son in the mental hospital, only to be turned away because he has attempted to kill himself. And that's it, really. They go home and look though a photo album, eat some jam. The phonerings. But the whole thing is, perhaps, both a comment on the nature of insanity and the nature of the short story itself, with all its rules and strangeness and banality. And all its symbols, of course.
我們喜歡這篇小說的原因就在於，這個故事有能力把每個細微的細節瞬間變為一場災難，而Nabokov在寫這篇小說用的是輕松華麗水銀瀉地般的散文風格。

5. 「Gooseberries,」 Anton Chekhov

Chekhov's stories are indisputably among the greats, and this one, written rather late, is one of our favorites. Chekhov probes at both the frailty and the worth of humanity, not to mention the natureof life, both for the fortunate and the unfortunate. But like most of Chekhov's stories, there's no clear moral, there's no obvious takeaway. Some men sit around and discuss their thoughts, and we listen, mulling over the subtleties for ourselves.
契科夫的小說無疑是最偉大的作品之一，而這篇是我們的最愛。這篇小說像他的其他小說一樣，沒有清晰的道德標准，我們只是靜靜地看著幾個人圍坐著，討論他們的思想。

6. 「Sea Oak,」 George Saunders

「Sea Oak」 is Saunders's favorite of his own stories, we've heard, so because we find it so hard to choose among them, we've included it here on his own recommendation. Absurdist and satirical, and including at least one zombie shouting at her housemates to get laid, it's a weird one. But it's also concerned with placelessness, with family, with poverty, and like all of Saunders's stories, has a good, thumping heart under all that darkness and fun-poking.

這部小說是桑德斯最為喜愛的一步短篇，這也是我們聽說的。因為我們很難做出選擇，因此就把他自己的推介放在了這里。這部小說充滿了荒誕和諷刺，但是也關心家庭和貧窮等問題。像他的其他小說一樣，在黑暗和取笑中，也暗含著美好和快樂。

7. 「The Ones Who Walk Away From Omelas,」 Ursula K. LeGuin

LeGuin's parabolic tale, which won the Hugo Award for best short story in 1974, is a weird, spacious story about a city that seems to be a utopia — except for its one flaw, the single child that must always be kept in darkness and wretched misery so that the others may all live happily. Most of the citizens eventually accept this, but some do not, and silently leave the city, vanishing into the world around. Strange but pointed, Le Guin is a master of her genre.
勒古這部寓言般的短篇小說獲得過1974年的「雨果獎」，是關於一個類似烏托邦的城市的荒誕又宏大的故事。

8. 「The Veldt,」 Ray Bradbury

This tale, from one of the greatest science fiction writers in history, is deliciously wicked. Though it was written in 1950, this kind of story — of children driven mad by want, of technology turning on its masters — will never get old. Until technology actually turns on us, that is. Then we probably won't want to hear about it.
布萊伯利作為歷史上最富盛名的科幻小說家，這篇小說也是通過精心編寫的。

9. 「The Bear Came Over the Mountain,」 Alice Munro

The undisputed queen of the short story, Alice Munro』s work is stark and often heartbreakingly raw, and this story of memory loss and the aching tenderness of human interaction is no different. Fun fact: this story was adapted into the film 「Away from Her」, starring Julie Christie and Gordon Pinsent.

門羅是毫無爭議的短篇小說女王，她的作品有一種朴實風格，常常帶著心跳般的粗獷，這篇關於喪失記憶以及人類互動中的痛苦和柔弱的小說也不例外。

10. 「The Nose,」 Nikolai Gogol

Gogol might be the oldest writer on this list, but he』s also one of the weirdest — in a good way. Nabokov once wrote, 「In Gogol…the absurd central character belongs to the absurd world around him but, pathetically and tragically, attempts to struggle out of it into the world of humans — and dies in despair.」 What else can an absurd noseless man do, after all?
果戈里應該是這個書單上最久遠的作家了，但是他也是最荒誕的小說家之一。納博科夫曾近這樣寫道：「在果戈里的作品中，荒誕的人物屬於他周圍荒誕的世界，但是卻可憐兮兮且悲慘地要逃離他的世界，最終死於絕望」。

❸ 高中英語短篇小說求推薦

要是想讀名著的話，牛津書蟲系列比較適合英語學習，是名著的簡化版本，容易理解，也能廣泛涉獵。都是雙語的。
以下是書目，可以挑些合適的來讀：
第四級：1500生詞量，適合初三學生
上冊5本：
1、《巴斯克維爾獵犬》
2、《不平靜的墳墓》
3、《三怪客泛舟記》
4、《三十九級台階》
5、《小婦人》
下冊6本：
1、《黑駿馬》
2、《織工馬南》
3、《雙城記》
4、《格列佛游記》
5、《金銀島》
6、《化身博士》

第五級：2000生詞量，適合高一學生，共4本。
1、《遠大前程》
2、《大衛•科波菲爾》
3、《呼嘯山莊》
4、《遠離塵囂》

第六級：2300生詞量，適合高二、高三學生，共4本
1、《簡•愛》
2、《霧都孤兒》
3、《傲慢與偏見》
4、《苔絲》

如果讀原著小說，莫泊桑 歐亨利 契科夫 的都挺好，但是有生僻詞。

❹ 求英文短篇小說,謝謝各位.

Black Horse 黑駿馬

Jed got to the top of the mountain and sat down to rest. The July sun had made him hot.
傑德到了山頂，就坐下來休息。7月底太陽使他熱汗淋淋。

It had been a long walk to the top and he was tired. He knew the horse he was trying to capture could not be too far away. He looked at the mountain and the valleys below, searching footmarks left by the horse.
他走了很長一段路才到山頂的，所以感到渾身乏力。他知道他想方設法要逮住的那匹馬離此不會太遠。他察看折山上及下面的山谷，尋找著那匹馬留下的蹄印。

Then he saw the marks going down the other side of the mountain. He must capture the horse. He knew better men than he had tried. Tom Raglan, the best rancher in the state, had tried with the help of his cowboys.
這時，他看到在山的另一側，順坡而下有一行馬蹄印。他一定要逮住這匹馬。他知道曾有比他更有能耐的人嘗試過。州內最好的牧場主湯姆·拉格倫就曾經在他那幫牛仔的幫助下做過嘗試.

But they had not been able to capture it. It had gotten away from others, too. They all said it was too wild. It could not be captured.
但他們並沒有能逮住它,其他試圖去逮它的人也都失敗了，都讓它逃脫了。他們都說他太野，是不可能被逮住的。

After a slow, painful walk down the mountain, Jed came to a cool-looking river. He drank the clear water.順著山路向下，慢慢地、艱難地走了一段之後，傑德到達一條水看上去十分清澈的河邊，喝了幾口河水。

Further down the valley he saw the black horse. It stood under a tree out of the sun. Jed moved closer, then hid behind a tree to watch. It was the biggest and blackest and blackest he had ever seen.
接著又沿山谷向前走了一段，這是他看到了那匹黑馬，他站在一棵樹下遮太陽。傑德又走進了些，然後躲在一棵樹後觀察。這是他有生以來見過的最大、最黑的馬。

Jed knew all about horse. He had grown into a man caring for them. He had never earned more than '10 but he had dreams: If he could get a male and female house and 10 hectares of land, he could sell horses. That would be all the happiness Jed wanted.
傑德對馬了如指掌。他是一個從小與馬廝混、在馬背上長大的人。盡管他掙的錢從來沒有超過10美元，但他有自己的夢想：如果他能夠得到一匹公馬、一匹母馬和10公頃土地，他就可以養馬並以賣馬為生了。那就是傑德想要得到的全部幸福了。

Night came. The big black house moved from under the tree and began to eat grass near the river. Jed watched again. A few hours later, he found a soft place in the ground. He placed his head against an old fallen tree and slept.
夜幕降臨。那匹大黑馬從樹下走了出來，走到河邊開始吃草。傑德繼續觀察著。幾小時後，他在地上找了一塊柔軟的地方，將頭靠在一棵倒著的老樹上睡著了。

The next day he woke with the sun. His eyes searched for the horse, and there it was, grazing. Jed saw how it ate, then lifted its head and looked all around. It was the mark of the wild, always looking for hidden danger.
第二天日出時他醒了過來，馬上就用目光尋找那匹馬，還好，它就站在那裡，正吃著草呢。傑德看著它吃草，隨後又見它抬起頭，朝四周看看。這就是野馬的特徵：它們總是十分小心，不時地看看四周是否有什麼暗藏的危險。

Jed started to walk toward the horse. The horse stopped eating and looking at Jed. Jed's heart began to beat heavily. Men had said the horse was a killer. Still, he walked closer.
傑德開始慢慢向它走近。它停止吃草，看著傑德。傑德的心開始「咚咚」直跳。人們都說這馬是一個殺手，但他還是繼續向它靠近。

Fifteen meters away from the horse Jed stopped. The horse had lifted its front feet high in the air, then placed them heavily back on the ground. Jed moved closer. He talked to the horse in a soft voice.
在離它15米遠的地方，傑德停了下來。只見它高高的抬起前蹄，然後又重重的落回原地。傑德又走近了些。他開始柔聲跟它說話。

Then, with a loud scream, the horse turned and ran down the valley. Jed sank to the ground wet with excitement. He had done what no man had done.
接著，隨著一聲響亮的嘶鳴，這匹馬轉身順著山谷跑了下去。傑德卻因興奮而渾身大汗淋漓，倒在地上。他已經做了別人沒有做到的事兒.

He had almost touched the wild horse. The animal was not a killer. If it had been, Jed would be dead now.
他幾乎快要挨到這匹野馬了。它並不是一個殺手，如果它是的話，傑德現在已經沒命了。

For six days he followed the horse. He rested when the horse rested. Jed did not like the land they were in now. The sides of the valley were high and filled with big rocks. Few trees were around. And the bottom of the valley was soft and wet.
他一連跟蹤了這匹馬6天。只有馬歇的時候，他才歇。傑德不喜歡他現在所呆的地方。這山谷的兩側都很高，到處是大岩石，周圍沒有多少樹，而且谷底又軟又濕。

Jed watched the horse a while, and then lay down to sleep.
傑德又看了一會兒馬，隨後躺下來睡覺。

In the middle of the night, he was awakened by thunder and rain. He walked up the rocks until he found a dry hole, safe from the rain, and he slept again.
半夜十分，他被雷雨聲驚醒。他立刻沿著岩石向上走，直到找了一個可以蔽雨的乾燥的山洞，他再接著睡。

The next day was cold and wet. Heavy rains had softened the bottom of the valley. He followed the house most of the day. The wet valley was the only place it could walk now.
第二天又冷又濕。大雨已經泡軟了谷底的土壤。這一天他大部分時間都在跟著馬走。濕濕的山谷是現在它唯一可以行走的地方了。

The sides of the valley had gotten higher. Toward evening he saw it again. But this time there was fear in its face. He stopped and watched. The horse's nose was smelling the air. It smelled danger. It smelled danger.
越走，山谷兩側就顯得越高。臨近黃昏時分，他才又見到了它，但這次它的臉上出現了一種恐懼的神情。他停下來仔細觀察，只見馬鼻子在嗅著空氣，他聞到了危險的氣息。

Jed thought of wild animals, a wildcat(鏈接至同目錄下wildcat）or bear maybe. He pulled his knife from his pants. He looked among the rocks but saw nothing.
傑德想到是不是有什麼野獸，一隻豹貓，也可能是一隻熊。他從褲子里抽出刀，在岩石間四處看看，但什麼也沒有看見。

He began walking toward the horse. The wildcat could have been on either side of the valley. He walked slowly, trying to watch both sides at the same time.
他便向馬走過去。豹貓可能在山谷的某一側。他走得很慢，盡力同時看著兩側。

Slowly he came to the horse's side. Jed kept watching the rocks. If the cat was going to attack, it would do it now. He felt the excitement of danger.
慢慢地，他來到了馬身邊。傑德一直盯著那些岩石。豹貓如果要襲擊，它現在就會跳出來的。他感到既危險又興奮。

Suddenly the silence was broken. The black horse screamed loudly, a cry of fear. It began running down the wet valley.
突然，寂靜被打破了。黑駿馬大聲嘶叫起來，那是一種充滿恐懼的叫喊。隨後，它順著濕漉漉的山谷奔跑起來。

At the same time there was a heavy, deep noise from the rocks. Then it happened. Tons of wet earth and big rocks began moving down the sides of the mountain. The land itself was the enemy.
與此同時，岩石中傳出了一種沉重的、深沉的響聲。緊接著，事情就發生了。成噸成噸的濕土和大岩石開始從山坡兩側滾落下來。原來山地本身就是馬的敵人。

When the air became clear, Jed looked for the horse. In front of him were tons of the fallen earth. He could not see down the valley and could not see the horse.

當空氣恢復清新的時候，傑德立刻開始找馬。在他面前是滾落下來的成噸的泥土，他無法看到山谷的前方，也看不到馬。

He slowly climbed over the fallen rocks. On the other side was the horse, more frightened than ever. Its legs were stuck in the soft earth and it could not move. The more it struggled, the deeper it sank in the mud.

他慢慢地爬過那些落下來的岩石。馬在這個石土堆的另一邊，看上去比先前更加恐懼。它的腿陷入了軟土裡，動彈不得。 而它越掙扎，就在泥中陷的越深。

Jed walked toward the animal. Each step he took, the soft mud tried to suck him down, too. He walked on the grassy places harder than the mud.

傑德向它走過去。他每走一步都感到軟泥也在將他向下吸，而且在長草的地方走比在泥里走還要艱難。

When he got to the horse, it was in the mud up to his stomach. Now it could move only its head. Jed felt wildly happy when he touched the horse. 「Don't struggle and do not worry, Horse! I'll get you out!」

當他趕到馬身邊的時候，泥已經驗到了馬肚上，現在它只剩下頭部還能動彈。摸到馬，傑德感到欣喜若狂。「別掙扎，別擔心，馬兒！我會把你弄出來的！」

Suddenly he felt the horses teeth on his arm. He bit his lip to stop it from crying aloud. His free hand gently calmed the horse and slowly it let go. It pressed its nose against Jed's face. At last they were friends.

突然，他趕到馬的牙齒咬住了他的手臂。他咬住嘴唇，以防自己疼得叫出聲來。他用那隻沒被咬著的手輕撫馬身，使它平靜下來，慢慢地讓它松開了嘴。隨後，馬將鼻子貼在了傑德的臉上。最後，他們成了朋友。

Now Jed could go to work. He studied the problem carefully. He had no way to lift the big horse from the mud. Certainly his rope was not strong enough.

現在傑德可以開始忙活了。他仔細研究了這個問題。他沒有辦法將這么大的一匹馬從泥里拽出來，它的繩子顯然不夠結實。

He began to pull the mud away with his hands. But more mud fell into the hole he g. He ran to the rocks that had fallen down the mountain. He took off his shirt and filled it with rocks. He g again.

他開始用手將泥刨開，但這樣以後，更多的泥又落進了他剛挖開的窟窿里。他就跑到那些山上落下的岩石邊，脫下襯衣將岩石裹住，又挖了起來。

Only this time, he placed rocks in the holes he g. The rocks stayed still and slowly a wall began to form. He did this through the day and when night came, his hands were bloody, torn by the sharp rocks.

這一次，他將岩石放進他挖開的窟窿里，岩石穩穩地呆在裡面，慢慢地形成了一面擋土石壁。他整整挖了一天。夜幕降臨時，他的兩手已經被尖銳的岩石劃得血淋淋的。

He knew night would be a bad time for the horse. He did not want it to become frightened and struggle against the wall of rock he was building in the mud.

他知道，夜晚對馬來說是很難熬的。他不想讓馬害怕，以至於掙紮起來踢壞他在泥里建好的石壁。

He cut some small trees, laid them on the ground next to the horse and all through the night, he spoke soft, kind words to it to calm its fears.

他砍了一些小樹，將它們放在馬旁邊的地上。另外，整整一夜，他都跟馬說一些溫柔友善的話來解除它的恐懼。

The next morning, he brought grass for it to eat and began his work again. It was slow, hard work. When night came, he lay next to the horse again. He did not want it to struggle yet. The time had not come for the test.

第二天早上，他抱來些草讓它吃，然後又開始忙活起來。這是一項好時而又艱苦的工作。夜幕降臨時，他又在馬旁邊躺了下來。現在他還不想讓馬從泥中掙脫出來，考驗的時機還沒有到。

By the middle of the next day, he had enough rocks in the mud on one side of the horse. Now he began to dig near the houses front legs. His rocks began to make the mud harder. The horse was able to move a little.

到第三天中午的時候，他在馬一邊的泥里放進了足夠的岩石。現在他開始挖馬前腿附近的土了。他放的岩石使泥地堅硬了起來，馬開始能動一點兒了。

And when the pressure became less, it raised one of its front legs on to the rocks. It pushed against the rocks on its side and lifted its body a little out of the mud.

而感到壓力變小了的時候，馬便將它的一條前腿拔了出來，翹到了岩石的上面，然後朝身邊的岩石猛蹬，使它的身體從泥里稍微抬起了點兒。

Jed got his rope and tied it around the horses neck. He began to pull on the rope.

傑德拿出繩子，將它繫到馬的脖子上，開始拉繩。

The horse felt the pull and struggled with all its power against the mud. It raised its other front leg on the rocks and with a mighty push with its back legs and with Jed pulling on its neck, it moved forward toward hard land.

馬感到了拉力，就用盡全力在泥里向外掙扎。他將另一條前腿也拔出來，搭在了岩石上，靠著後腿的巨大蹬力和傑德對它脖子施加的拉力，他向前面的硬地移動著。

Jed fell on the earth, happy but tired. He had not eaten for three days. He had slept little. Half sleep, he felt the horses nose push against his face. He jumped to his feet and when he brought grass for the horse it made friendly noises and playfully pushed him.

傑德倒在地上，高興而又疲憊。他已經三天沒吃東西了，睡的覺也不多。正有點迷迷糊糊的，他感到馬的鼻子拱到了他的臉上，他趕快一躍而起。當他為馬抱來草料時，馬發出了友好的叫聲，頑皮地拱拱他，和他戲耍。

A week later, a big black horse rode on the land owned by Tom Raglan. It stopped near the ranch house. A little man got off the horses back. Tom Raglan looked at the horse with eyes that did not believe. Finally he said: "You got him."

一周之後，有人騎了一匹大黑馬來到牧場主湯姆·拉格倫的領地上。他在牧場房邊停下來，一名小個子男人從馬背上跳了下來。湯姆·拉格倫用吃驚的眼光看著這匹馬，眼前的情景簡直令他難以置信。最後，他說：「你得到了他。」

"I got him, Tom, and I brought him back as I said I would."

「我的得到了他，湯姆，而且正像我說過的那樣，我把他騎回來了。」

Raglan looked at the horse. Above all, he was a horseman and there was no need for Jed to tell him how he captured it. Jed's tired face, his torn hands, dirty clothes and thin body told the story.

拉格倫看著馬。他畢竟是一個馬主，沒有必要讓傑德告訴他是怎麼逮住馬的。傑德疲憊的臉、劃爛的手、骯臟的衣服和瘦弱的身體就已說明了一切。

「Jed,」 Raglan said. 「that horse will kill anyone except you. I do not want it. But I have not forgotten my promise."

「傑德，」拉格倫說，「那匹馬會弄死除你之外的任何人，我不想要它。但我沒忘記自己的諾言。

"I will give you some land and the old house in back of the ranch if you will keep the horse there. I pay you '30 a month, if you will let me send my female horses to the black horse."

如果你讓這匹馬一直呆在這兒，我就把一些土地和牧場後邊的那坐老房子送給你。如果你讓我把我的母馬送到你的黑駿馬那裡去交配的話，我會每個月付給你三十美元。

"I want the black horse's blood in my horses. And you can keep every seventh horse for yourself.」

我想要我的馬的身體力都有黑駿馬的血統。而且，你可以留下交配後產下的小馬中的七分之一。」

Jed put his arm around the black horse. The black horse was his. His dream had come true. It was too much all at once.

傑德伸出手臂，抱住大黑馬。黑駿馬成他的了。他的夢想已經變為現實了。突然之間，他得到的真是太多了。

❺ 適合初學者看的英文小說

一、Charlie and the Chocolate Factory《查理和他的克工廠》

一本有趣好看而充滿想像力的童話小說，講述了窮孩子查理幸運拿到可以進入巧克力工廠參觀的金券後，一系列的奇遇。 在書中可以看到，小查理和他的家裡人過的生活雖然貧窮，可他們深深地懂得愛，這維持了他們除生活外的一切滿足感，看完如果意猶未盡，還可以看看同名電影。

二、The wonderful wizard of Oz《綠野仙蹤》

故事講述了小蘿莉多蘿西被大風吹到一個奇異國度(奧茲國)的奇遇記。這個可愛的小故事里有一個善良的小蘿莉，一個稻草人，一個鐵皮機器人與一個獅子。短小精悍，沒什麼難度，易讀易懂，卻又引人入勝。

三、Flipped《怦然心動》

這本便是同名電影的原著小說，它講述了一個單純美好的故事，裡面有美好的田園風光和校園生活，還有屬於布萊斯和朱莉的故事。小說要比電影有意思很多，相信你看的時候一定會笑出聲來。敘述以男孩和女孩視角的章節交錯進行，畫面感很強。

四、Hyperbole and a Half- Allie Brosh我幼稚的時候好有范

比爾蓋茨2015年的推薦書單里就有這本奇特的小書，他說道：你會希望小說更長，因為這些故事很有趣，很睿智。它故事短小，畫風奇特，非常適合於碎片時間閱讀。

五、The little word of Liz Climo你今天真好看

這本畫風萌系、溫暖的治癒系，收錄了莉茲克里莫150多張逗趣漫畫和小說情節。畫中的故事簡單卻動人，圍繞著各種萌萌的小動物展開，有兔子，蜥蜴，棕熊，企鵝等。簡短有趣的句子配上可愛清新的漫畫，很快就可以看完。

❻ 求推薦幾篇未被翻譯過的英語短篇小說6000到8000內的。

《欣然同意》（Agreeable）是美國作家喬納森·弗蘭岑的一篇短篇小說。喬納森·弗蘭岑是近兩年在美國文壇受人矚目的一個作家，早在1988年他就獲得「懷丁作家獎」，在2010年他的寫作到達一種頂峰狀態，登上《時代》周刊的封面，被譽為「偉大的美國作家」。在翻譯《欣然同意》的過程中，譯者最大的感受是小說翻譯作為文學翻譯的一種，有其獨特的特點，同時譯者在英譯漢這個跨文化交流的活動中面對文學翻譯的語言、藝術審美及其具有的社會文化功能方面的基本問題，在翻譯過程中不僅要做到譯意，還要譯「情」、譯「味」、譯「韻」。①將美學理念與審美思維有機結合起來，並將之運用到文學翻譯實踐當中去，從而最大限度地使譯入語文本接近源語文本，極力提高兩者的相似性，是文學翻譯者所應追求的目標之一。筆者將從短篇小說翻策略的角度入手，闡述英文小說翻譯的一些技巧。

❼ 求一篇短篇小說（英文的，字數500-1000詞）

Many artists lived in the Greenwich Village area of New York. Two young women named Sue and Johnsy shared a studio apartment at the top of a three-story building. Johnsy's real name was Joanna. In November, a cold, unseen stranger came to visit the city. This disease, pneumonia, killed many people. Johnsy lay on her bed, hardly moving. She looked through the small window. She could see the side of the brick house next to her building. One morning, a doctor examined Johnsy and took her temperature. Then he spoke with Sue in another room. "She has one chance in -- let us say ten," he said. "And that chance is for her to want to live. Your friend has made up her mind that she is not going to get well. Has she anything on her mind?" "She -- she wanted to paint the Bay of Naples in Italy some day," said Sue. "Paint?" said the doctor. "Bosh! Has she anything on her mind worth thinking twice -- a man for example?" "A man?" said Sue. "Is a man worth -- but, no, doctor; there is nothing of the kind." "I will do all that science can do," said the doctor. "But whenever my patient begins to count the carriages at her funeral, I take away fifty percent from the curative power of medicines." After the doctor had gone, Sue went into the workroom and cried. Then she went to Johnsy's room with her drawing board, whistling ragtime. Johnsy lay with her face toward the window. Sue stopped whistling, thinking she was asleep. She began making a pen and ink drawing for a story in a magazine. Young artists must work their way to "Art" by making pictures for magazine stories. Sue heard a low sound, several times repeated. She went quickly to the bedside. Johnsy's eyes were open wide. She was looking out the window and counting -- counting backward. "Twelve," she said, and a little later "eleven"; and then "ten" and "nine;" and then "eight" and "seven," almost together. Sue looked out the window. What was there to count? There was only an empty yard and the blank side of the house seven meters away. An old ivy vine, going bad at the roots, climbed half way up the wall. The cold breath of autumn had stricken leaves from the plant until its branches, almost bare, hung on the bricks. "What is it, dear?" asked Sue. "Six," said Johnsy, quietly. "They're falling faster now. Three days ago there were almost a hundred. It made my head hurt to count them. But now it's easy. There goes another one. There are only five left now." "Five what, dear?" asked Sue. "Leaves. On the plant. When the last one falls I must go, too. I've known that for three days. Didn't the doctor tell you?" "Oh, I never heard of such a thing," said Sue. "What have old ivy leaves to do with your getting well? And you used to love that vine. Don't be silly. Why, the doctor told me this morning that your chances for getting well real soon were -- let's see exactly what he said ¨C he said the chances were ten to one! Try to eat some soup now. And, let me go back to my drawing, so I can sell it to the magazine and buy food and wine for us." "You needn't get any more wine," said Johnsy, keeping her eyes fixed out the window. "There goes another one. No, I don't want any soup. That leaves just four. I want to see the last one fall before it gets dark. Then I'll go, too." "Johnsy, dear," said Sue, "will you promise me to keep your eyes closed, and not look out the window until I am done working? I must hand those drawings in by tomorrow." "Tell me as soon as you have finished," said Johnsy, closing her eyes and lying white and still as a fallen statue. "I want to see the last one fall. I'm tired of waiting. I'm tired of thinking. I want to turn loose my hold on everything, and go sailing down, down, just like one of those poor, tired leaves." "Try to sleep," said Sue. "I must call Mister Behrman up to be my model for my drawing of an old miner. Don't try to move until I come back." Old Behrman was a painter who lived on the ground floor of the apartment building. Behrman was a failure in art. For years, he had always been planning to paint a work of art, but had never yet begun it. He earned a little money by serving as a model to artists who could not pay for a professional model. He was a fierce, little, old man who protected the two young women in the studio apartment above him. Sue found Behrman in his room. In one area was a blank canvas that had been waiting twenty-five years for the first line of paint. Sue told him about Johnsy and how she feared that her friend would float away like a leaf. Old Behrman was angered at such an idea. "Are there people in the world with the foolishness to die because leaves drop off a vine? Why do you let that silly business come in her brain?" "She is very sick and weak," said Sue, "and the disease has left her mind full of strange ideas." "This is not any place in which one so good as Miss Johnsy shall lie sick," yelled Behrman. "Some day I will paint a masterpiece, and we shall all go away." Johnsy was sleeping when they went upstairs. Sue pulled the shade down to cover the window. She and Behrman went into the other room. They looked out a window fearfully at the ivy vine. Then they looked at each other without speaking. A cold rain was falling, mixed with snow. Behrman sat and posed as the miner. The next morning, Sue awoke after an hour's sleep. She found Johnsy with wide-open eyes staring at the covered window. "Pull up the shade; I want to see," she ordered, quietly. Sue obeyed. After the beating rain and fierce wind that blew through the night, there yet stood against the wall one ivy leaf. It was the last one on the vine. It was still dark green at the center. But its edges were colored with the yellow. It hung bravely from the branch about seven meters above the ground. "It is the last one," said Johnsy. "I thought it would surely fall ring the night. I heard the wind. It will fall today and I shall die at the same time." "Dear, dear!" said Sue, leaning her worn face down toward the bed. "Think of me, if you won't think of yourself. What would I do?" But Johnsy did not answer. The next morning, when it was light, Johnsy demanded that the window shade be raised. The ivy leaf was still there. Johnsy lay for a long time, looking at it. And then she called to Sue, who was preparing chicken soup. "I've been a bad girl," said Johnsy. "Something has made that last leaf stay there to show me how bad I was. It is wrong to want to die. You may bring me a little soup now." An hour later she said: "Someday I hope to paint the Bay of Naples." Later in the day, the doctor came, and Sue talked to him in the hallway. "Even chances," said the doctor. "With good care, you'll win. And now I must see another case I have in your building. Behrman, his name is -- some kind of an artist, I believe. Pneumonia, too. He is an old, weak man and his case is severe. There is no hope for him; but he goes to the hospital today to ease his pain." The next day, the doctor said to Sue: "She's out of danger. You won. Nutrition and care now -- that's all." Later that day, Sue came to the bed where Johnsy lay, and put one arm around her. "I have something to tell you, white mouse," she said. "Mister Behrman died of pneumonia today in the hospital. He was sick only two days. They found him the morning of the first day in his room downstairs helpless with pain. His shoes and clothing were completely wet and icy cold. They could not imagine where he had been on such a terrible night. And then they found a lantern, still lighted. And they found a ladder that had been moved from its place. And art supplies and a painting board with green and yellow colors mixed on it. And look out the window, dear, at the last ivy leaf on the wall. Didn't you wonder why it never moved when the wind blew? Ah, darling, it is Behrman's masterpiece ¨C he painted it there the night that the last leaf fell."

❽ 最新英文小說哪裡找

《美國嗚禽》（Birds of America），作者羅莉摩爾（Lorrie More）。曾出版過兩本短篇小說集的羅莉摩爾，在她這第三本小說集子里，以洗鏈幽默的文筆，描述了一則則與死亡、苦悶有關的故事。這樣大膽的反諷正可見作著者文字的高度掌握能力及對人性的深度觀察。貝克特（Beckett）的名言「人生最滑稽的事莫若愁苦」在這位年輕女作家筆下又再度展現新意。

《拔入雲霄》（Cloud splitter），作者羅索班克斯（Russell Banks）。這部以南北戰爭為背景的小說，企圖探討歷史為何物--究竟是記載了事實經過，還是人們所期待和相信的經過？主人翁面對戰爭英雄的父親形象層層追索，抽絲剝繭後，竟是一層又一層的謎題。

《生命》（Life）--地球第一個四十億年的生命發展史，作者理查福提（Richard Fortey）從本書的附題，大致可以了解全書的架構及內涵，難得的是這位英國古生物學者以生動清晰的文筆將今日生物學的最新科技研究成果轉化為曲折離奇的冒險故事，即使對科學一無所知的讀者也想一窺物種進化奧秘的樂趣。

《良家婦女的愛情》（The Love of A Good Woman），作者愛莉絲夢露（Alice Munro）加拿大籍的女作家夢露，多年來以其精湛且豐富的文字，致力短篇小說推向更深廣的表達形式，並為英語文學界普遍推崇肯定。雖專寫女性，卻不落入女權／男權的二分窠穴。在這本最新的短篇集中，她的角色皆取自六○年代，其隱含主題在疑問，以今日角度重視當年，所生的諸多不足甚至不公之憾。藉愛情小說道出世道滄桑，人心不古，綿密中更見批判力道。

《毒木聖經》（The Poisonwood Bible）作者芭芭拉金絲洛芙（Barbara Kingslover）「一名白種美國傳教士在一九五九年進入剛果」，故事本身即深富政治訊息的這本長篇小說，在角色塑造上的成功是使本書不致流於浮面的最大優點。以傳教士之妻女的觀點敘述這段黑暗歷史，美國奴隸制度之殘苛亦呈現前所未有的震撼。自出版以來，本書已蟬聯排行榜數周。

《深淵》（Preston Falls）作者大衛蓋茲（David Gates）繼承美國文學《浮華世界》、《大亨小傳》道德故事傳統，蓋茲九○年版的美國夢，充滿伏流險惡，旦夕禍福之警世意味。讀者在掩卷時幾度不忍再回顧故事主人翁所經歷的這場悲劇，美國文化對成功的定義，也在作者冷靜的筆下赤裸裸呈現其繆思及偽善。

《泰坦巨人》（Titan）--洛克菲勒傳，作者朗查諾（Ron Chernow）本書不同於以往洛克菲勒相關的記載，重點著重於洛克菲勒的早年，對其人特殊經濟觀和市場學的生成源起有深度分析。作者主要立論在洛克菲勒以托拉斯壠斷的企業方式抵制美國馬克斯派傾向的經濟形態。不以石油巨人家族紛爭或個人隱私作文章，卻能藉主人翁的帝國觀照美國經濟是為本書之精華。

《停戰》（To End A War），作者理查霍布洛克（Richard Holbrooke）以1995年美國介入波士尼亞內戰，最終成功達成停戰協議這段經過為經，以現代國際外交的體質為緯，交織構成這部少見的外交政治歷史熔於一爐的報導文學。作者霍布洛克本人為這項和談任務的核心外交官，他的第一手報導不偏不倚甚為難得。

《馬諦斯的另一面》（The Unknown Matisse），作者希拉蕊史柏琳（Hilary Spurling）本書為作者史柏琳的馬諦斯生平首卷，記載了從一八六九年到一九○八年馬諦斯沒沒無聞的掙扎時期。馬蒂斯在步入中年之際仍不得認可，交戰心中的種種藝論及人生觀讀來如同真人告白。而二十世紀初初揭幕，現代主義方興未艾的空氣在世紀末之今日讀來尤其具啟示意義。在史柏琳的經營下，畫家的世界不光只是私密的活動，更是公開的社會運動。

《雨果傳》（Victor Hugo），作者格瑞翰羅伯（Graham Robb）。十九世紀人道大師雨果的作品眾人耳熟能詳，但是鮮為人知的是雨果在法國政壇起落出入的歷史，以及他長達二十年的叄議員生涯領導法國人民反抗拿破崙三世的事跡。這位在世廣受當時民眾愛戴，死時二百萬群眾送殯遊行的文學巨擘，在作者筆下再放光與熱，本書被譽為英文著作中最隹的雨果傳記。

《向您告知明天我們全家將遭不測》(We Wish to Inform You that Tomorrow We Will Be Killed with Our Family)，作者菲立普古勒維治（Philip Gourevitch）。八十萬人民在一百天內紛遭處決，盧安達的屠殺慘劇直逼納粹暴行。作者為「紐約客」雜志記者，他親訪倖存者，寫下他們目睹之種種，令讀者心驚之餘更要質問究竟誰該對這種非人道行徑負責？種族歧視一日不消，人類就要在這種精神創傷中多活一日。

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