经典短篇英文小说

经典短篇英文小说（精选6篇）

经典短篇英文小说 第1篇

EVELINE

ANNE 1320130095 1.Summary The story is about a young woman who longs to escape from the tyranny of her father and from the responsibilities of surrogate motherhood, thrust on her after the death of her own mother.When she is offered an avenue of escape, she discovers that she lacks the spirit, the courage, and the strength of character to take it.Although only nineteen years old, Eveline Hill lives in the past, her mind occupied with the way things “used to be” as she sits by the window of her father’s house.The world around her has changed, just as the neighborhood has changed.A land developer from Belfast has constructed brick houses on the field where “other people’s children” used to play.One of the children who used to play there is now dead, and others have left the area.Some have even left the country.Eveline remains.Her brother Ernest, who was “too grown up” to play, is now dead, as is her mother.Her father has turned to drink and is given to violence, particularly on Saturday nights.Eveline works as a shopgirl at “the Stores”, earning a miserable seven shillings a week, which are then given over to her father.She promised her dying mother that she would “keep the house together”, rearing the two younger children and contending with her father’s bad temper and the drinking that has worsened since her mother’s death.She dreams of escaping the dull and painful life which have forced on her.Eveline meets a young man named Frank, who has sailed around the world and represents a means of escape for her.He wants to marry her and take her with him to Buenos Aires, halfway around the world from Ireland.Although she has accepted his offer of marriage and he has arranged her passage by ship, she has second thoughts on the day of her scheduled departure.At first her misgivings at home are centered on a remembrance of her past, as she sits by the window, clutching the letters that she has prepared for her father and brother in order to explain her departure.At the end of the story, she discovers that she is in fact unwilling and unable to leave her hometown.She is a captive of the past;she has no future.Finally, she stays.2.Definitions Odour——it’s similar to the word ”smell”, and is especially bad or disgusting smell.Keep nix——keep a lookout.Consent——you give someone permission to do something or agree to do something.Give somebody palpitations——make somebody’s heart beats very fast in an irregular way.Squander——spend thoughtlessly or throw something away at random.Manly——possessing qualities befitting a man.Elated——exultantly proud and joyful or in high spirit.Strut——to walk with a lofty proud gait, often in an attempt to impress others.Fervent——characterized by intense emotion.Grip——the act of grasping.3.Deep understandings

The story is about young woman who longs to escape from the tyranny of her father and from the responsibilities of surrogate motherhood, thrust on her after the death of her own mother.When she is offered an avenue of escape, she discovers that she lacks the spirit, the courage, and the strength of character to take it.Traditionally, women viewed as subordinate and inferior to men.What Eveline chose at the end not only reveals her numbness of current life, but also shows her distrust to love.The story is just like a mirror, reflecting and warning people’s indifference to women’s sleeping self-consciousness and even all humanbeings’ numbness of custom and currency.

经典短篇英文小说 第2篇

小公务员罗佳煌原来在县公安局里做宣传。他脑子来得快，文笔又好，很得领导们的赏识。一位副局长很喜欢他，想把自己的女儿介绍给他，罗佳煌听说这女孩子很刁蛮，就婉言谢绝了。于是那位副局长找了个茬口，就把他给调到了横山派出所。

横山派出所坐落在横山镇上，是本县最荒僻的一个所，大家私下里都说，这是县局的流放地。所里一共才四个人，都属于那种姥姥不疼舅舅不爱的主儿。罗佳煌一看这情形，心就凉了半截儿。

跟罗佳煌住在一个屋的是刘文强，邻县人，早就想调回老家去，但局里一直不批，他也是牢骚满腹，不爱干活儿，得着个工夫就溜到街边跟人下棋，是个超级棋迷。但凡遇到了刮风下雨，街上没人了，他也下不得棋了，就难受得要死，一个劲儿地跟屋里溜。

罗佳煌来了以后，也是心灰意冷，懒得看书学习了，而且这里也上不了网，更让他百无聊赖。刘文强就拉着他坐到棋盘前，跟他码上了。罗佳煌不会玩儿，刘文强就一步一步地教给他，卧槽、飞象、拱卒。罗佳煌慢慢就喜欢上了下棋，俩人常常奋战到深夜，当然是罗佳煌输，刘文强赢。

罗佳煌老是输，输了就被刘文强挤兑，他那一根筋的毛病就犯了，一门心思研究起象棋来。他先在一旁看别人下棋，看看门道、琢磨路数、找找章法，慢慢地他就悟出了一些，棋艺提高了不少。后来休假，他回到城里，啥都不干，就是从书店买回几本棋谱，生生坐在家里研究了一个假期。假期休完，他觉得眼前豁然开朗，感觉自己掌握了下棋的要领。等到他再回到横山镇，就横扫刘文强了。

接连下了几盘，刘文强都没赢，刘文强不觉暗暗纳罕，赌气地说：“你那文棋，不见得能赢过土棋。民间可有许多高手呢。不信你就找他们下下去。”

罗佳煌就按照他的指点，来到镇子的西北角儿，那里有个杂货铺，铺子门外有片空地，常年有几个棋摊子支在那里。

罗佳煌去的时候，有个棋摊子，一个老人正独自坐在那里看着棋盘。他见罗佳煌走过来，就笑呵呵地问道：“怎么，想来一盘?”

罗佳煌就说：“跟您请教一盘吧。”

两个人就坐下来，开始下棋。罗佳煌下了两盘，竟然都输了。没见老人水平多高，怎么会赢了他呢?罗佳煌暗暗纳罕。他留心观察，终于发现了一个奥秘：老人那边的棋盘上，会平空多出一个马来。他明明记得，他已经吃掉了对方的两个马，可棋盘上却还有一个，顿时让他转为劣势。可他根本就没看到老人动手出老千啊。

他长了个心眼儿，悄悄把吃掉的棋子都放到自己这边。但下着下着，他又发现，棋盘上多出了一个马。他悄悄看了看自己手下的棋盒，里面有两个马呀。他不高兴地说：“老伯呀，下棋不能这么下。你这两个马已经被我吃掉了，怎么又来了一个?”说着，他抓起那两个棋子来给老伯看。老伯却笑着问他：“那明明是两个象，你怎么说是马呢?”他转过手来一看，手里捏着两个象。再低头一看，棋盒里只有一个马。真是怪了。老伯一推棋盘说：“你赢了。我回去琢磨琢磨你的棋道，咱们明天再下，怎么样啊?”

罗佳煌点头应了。

老人就收起棋子，夹着棋盘走了。

罗佳煌也起身要走。这时，却突然下起雨来。他忙着跑进了杂货铺里。杂货铺的老板娘忙着递给他一条干毛巾让他擦脸，然后就嗔怪地说：“多大的瘾啊，非要在雨里下棋，也不怕淋病了啊?”罗佳煌惶惑地问道：“不是才下的雨吗?”老板娘这才告诉他说，已经下了好半天了。

他迷惑地往外看去，但见地上已经流着水了，可见这雨真不是下了一时半会儿了，他们刚才下棋的地方，却还是干的。他再低头看看自己的衣服，也只掉落了几滴雨水啊。他不禁愕然地睁大了眼睛，想不透其中的缘故。

罗佳煌回到所里，就跟刘文强打听那个老人的情况。刘文强想了好半天，也想不出这个棋迷是谁。罗佳煌也没太当回事儿，接着研究他的棋谱去了。

第二天黄昏时候，罗佳煌早早地吃完了晚饭，然后就跑到杂货铺前。现在天还没黑，那里已经聚了好大一堆人，围住了棋摊，指指点点。有两个人在下棋，更多的却是围观的。他见下棋的人里没有老人，而那些人也都不认识他，并不跟他打招呼。他就站在一边探着脖子看着。那些人水平并不高，这倒让他有些失望了。

忽然，肩头被人拍了一下。他回头一看，见是那位老人，不禁有些高兴。老人把他拉到一旁，笑着说：“这里乱哄哄的，鸡一嘴鸭一嘴，没办法静下心来下棋。走，到我家下去吧。”

罗佳煌想想也是这么回事儿，就跟着老人走了。

老人带着他走到镇子的西北角儿，这里是一片农村的民房，再往外就是农田了。老人领着他来到一座院子前，推门进来，他见北房里亮着灯，一个姑娘正在灶前忙碌着做饭。老人小声对他说：“那是我闺女，最烦我下棋了。咱悄悄过来，别说话，别惊动她啊。”罗佳煌点点头，放轻了步子，跟着老人来到北房最东面的一间。

老人进了门，就拉着罗佳煌在桌前坐下，他早已摆好了棋盘，看来还真是个棋迷。他笑了笑说：“昨天是逗你玩儿的，今天可动真格的啦。”罗佳煌高兴地说：“动真格的才好。”说着，两个人就摆开了战场。

老人棋艺不错，常常走出怪招儿来，倒让罗佳煌意想不到，乱了阵脚。好在他的悟性极高，很快就摸透了老人的路子，巧妙应战。两个人你来我往，酣战在一处。

门外忽然传来敲门声。老人生气地说：“这么晚了上门来，能有什么好事!”说着，他就无可奈何地站起身来去开门了。可他去了好一会儿，还不见门开，那敲门声依然在响着，而且越来越急，还夹杂着一两声叫喊：“再不开门我们就砸了!”罗佳煌站起身来，隔着窗玻璃往外一看，但见大门处连个人影都没有，不知道老人哪里去了。

他正疑惑间，却见那姑娘慢慢吞吞地走到门边，轻声说：“胡大哥，你再容我两天吧，我一定想办法还你的钱。”外面那人大声道：“容不得啦!你快开门。”那姑娘只是犹豫着，却不开。这时，就见一个黑影越墙而入，一把推开了姑娘，打开大门，又从门外进来两个凶神恶煞般的男人。

一个男人一把抓住了姑娘的脖领子，恶狠狠地问道：“你还不上我的钱是吧?现在我给你两条路走。一是把房子抵给我，一是给我当二奶。你选吧。”姑娘吓得倒退着：“不，不，胡大哥”那个胡大哥却冲旁边那俩人使了个眼色，那俩人上去就按住了姑娘，把她按倒在地，扒着她的衣服。那个胡大哥却从怀里掏出一个DV，摆好了地方，就开始脱着自己的衣服。

罗佳煌明白了，这几个人是想拍下姑娘被强暴的录像，然后借此要挟她服从。他顿时怒不可遏了。他从腰里掏出手抢，“哗啦”一声上了膛，冲出门去，抢口对准了那个胡大哥，厉声喊道：“警察，别动!”

那三个人看到他，又看到他黑洞洞的抢口，顿时愣住了。

罗佳煌冷冷地说：“子弹不长眼，我的手也有点儿哆嗦，要是一不小心打着了哪位，可别怪我啊。”那三个人给吓坏了，忙着跪倒在地，磕头就像鸡啄米。他转身对那姑娘说：“别怕，有我呢。”那姑娘忙乱地穿好衣服，赶紧站到了他身后。他让姑娘找来几根绳子，命令那三个人互相捆绑住了。他检查了一下，捆绑得还算结实，这才拿起DV，让姑娘跟他去趟派出所作证，姑娘忙着点头应了。

一做材料，他才知道那姑娘名叫秦婉儿，是镇中学的老师。她的父亲名叫秦忠，酷爱赌博。年前参加过一次大赌，输急了眼，跟胡三借了高利贷，想扳回本儿来。但本儿没扳回来，又输了个精光，一气之下投河自尽了。那胡三就逼着秦婉儿还账，她还不上，胡三竟想到了那么卑劣的法子，亏得他及时出现，救了秦婉儿。

秦婉儿好奇地问他：“你怎么会藏到我家的?”

罗佳煌只好说了老人约他去下棋的事。

秦婉儿眼圈儿一红，就哭上了：“我爹还是不放心，请你来保护我了。”罗佳煌想想也是。要不，那天都那么晚了，他跟老人在屋里摸黑下棋，他怎么就没觉得黑呢?那是老人在留他啊。

那三个人被抓进去了。

秦婉儿被这次的事给吓坏了，一个人不敢走夜路，常常请求罗佳煌接送她。罗佳煌也觉得秦婉儿这么一个漂亮的女孩子独自走来走去的，难免被坏人盯上，就主动承担起了接送她的任务。两个人日久生情，竟谈起了恋爱。

经典短篇英文小说 第3篇

If there were a literary award bigger than the Nobel Prize, Alice Munro would probably win that, too.

“She’s the kind of writer about whom it is often said—no matter how well known she becomes—that she ought to be better known, ”Canadian author Margaret Atwood once wrote.

Munro, 82, considered the Canadian Chekhov, was awarded literature’s highest honor, before which she had won a lot of prizes. And this brings more attention to her.

“I think maybe I was successful in doing this because I didn’t have any other talents, ”she explained in an interview posted on You Tube.

Born on July 10, 1931 in Wingham, Ontario, she grew up in the countryside. Her father Robert Eric Laid-law raised foxes, while her mother was a schoolteacher.

At just 11 years old, she decided she wanted to be a writer, and never changed her mind.

Munro’s first story The Dimensions of a Shadow was published in 1950 while she was studying at the University of Western Ontario, where she met her first husband James Munro. The couple married in 1951 and moved to Vancouver. They bought a house in Victoria in 1963, and opened a bookstore, Munro’s Books, described by author Allan Fotheringham as “the most magnificent bookstore in Canada”. Then Munro wrote her first collection of stories.

Her works had previously appeared in Canadian literary journals Tamarack Review, Canadian Forum and on the CBC radio program Anthology, whose producer, Robert Weaver, played a major role in the acceptance of her early works. She has remarked in interviews that she focused on the short story simply because she was taking care of two daughters before the age of 30.

The end of Munro’s marriage in 1972 prompted her return to Ontario and eventually to the University of Western Ontario, this time as the writer-in-residence. Four years later she married Gerald Fremlin, whom she had known since her university years. They settled on a farm outside of Clinton. Her numerous and award-win-ning collections of short stories, were set mostly in southern Ontario, which is now famous as the“Munro Tract” (bounded on the west and south by Lakes Huron and Erie, on the north by the town of Goderich, on the east by London) .

From the mid-1970s, Munro began her long-standing relationship with The New Yorker magazine, substantial-ly expanding her audience in North America and beyond. Her works have been translated into 20 languages and she has the distinction (荣誉) of having each new book sell better than the preceding one. While Munro an-nounced her retirement after the publication of The View from Castle Rock in 2006, the books have continued to appear at roughly the same pace, with Too Much Happiness in 2009 and Dear Life in 2012.

Critics have said that Munro’s stories often have the emotional and literary depth of novels. Some have asked whether Munro actually writes short stories or novels. Alex Keegan, writing in Eclectica, gave a simple an-swer:“Who cares? In most Munro’s stories there is as much as in many novels.”

Many compare Munro’s small-town settings to writers from the rural South of the United States. As in the works of William Faulkner and Flannery O’Connor, her characters often confront deep-rooted customs and tradi-tions, but the reaction of Munro’s characters is generally less intense than their Southern counterparts’. Her male characters tend to capture the essence of the everyman, while her female characters are more complex.Munro’s works deal with love and work and the failings of both, focusing on female.

A frequent theme of her early stories has been the dilemmas (困境) of a girl coming of age and coming to terms with her family and the small town she grew up in. In some works such as Hateship, Friendship, Court- ship, Loveship, Marriage (2001) and Runaway (2004) , she has shifted her focus to the travails of middle age, of women alone, and of the elderly. It is a mark of her style for characters to experience a revelation (觉醒) that sheds light on, and gives meaning to, an event.

It is tempting for readers to focus upon Munro’s usage of specifically Canadian spaces and times. Munro’s soundest achievement as a fiction writer, however, lies in her power to express what her characters experience as a more or less permanent condition of uncertainty and ambivalence (矛盾心理) .

Various adaptations of her stories have appeared on television: Away from Her (2006; dir. Sarah Polley) is a noteworthy film version of Munro’s The Bear Came over the Mountain, from her 2001 collection Hateship, Friendship, Courtship, Loveship, Marriage, and the short film of Boys and Girls won an Oscar in 1984. Robert Thacker’s literary biography Alice Munro: Writing Her Lives appeared in 2005.

“I really hope that this would make people see the short story as an important art, not some-thing you play around with, ”Alice Munro told the CBC’s Heather Hiscox after she won the 2013 No-bel Prize in Literature.

Alice Munro’s Quotes

·On writing short stories

“I don’t really understand a novel. I don’t understand where the excitement is supposed to come in a novel, and I do in a story. There’s a kind of tension that if I’m getting a story right I can feel right away, and I don’t feel that when I try to write a novel. I kind of want a moment that’s explosive, and I want everything gathered in-to that.”

·On whether she considers herself a femi- nist writer

“Naturally my stories are about women—I’ma woman. I don’t know what the term is for men who write mostly about men. I’m not always sure what it means by‘feminist’. In the beginning I used to say, well, of course I’m a feminist. But if it means that I fol-low a kind of feminist theory, or know anything about it, then I’m not. I think I’m a feminist as far as think-ing that the experience of women is important. That is really the basis of feminism.”

·On her influences

“The thing about the Southern writers that interested me, without my being really aware of it, was that allthe Southern writers whom I really loved were women. I didn’t really like Faulkner that much. I loved EudoraWelty, Flannery O’Connor, Katherine Ann Porter, Carson McCullers. There was a feeling that women couldwrite about the freakish, the marginal.”

·On revisions

“I’ve often made revisions at that stage that turned out to be mistakes because I wasn’t really in therhythm of the story anymore. I see a little bit of writing that doesn’t seem to be doing as much work as itshould be doing, and right at the end I will rev it up.”

·On creating convincing characters

“I always have to know my characters in a lot of depth—whatclothes they’d choose, what they were like at school, etc. And Iknow what happened before and what will happen after the part oftheir lives I’m dealing with. I can’t see them just now, packed in-to the stress of the moment. So I suppose I want to give as muchof them as I can.”

·On making sacrifices

“It’s certainly true that when I was young, writing seemed tome so important that I would have sacrificed almost anything to it.Because I thought of the world in which I wrote—the world I creat-ed—as somehow much more alive than the world I was actually liv-ing in. However, as I get older my rampaging need to write dimin-ishes a bit. I have to face the amazing fact that I’m probably go-ing to die, at some time, anyway. So everything I do in my lifethen seems more relative because it’s just part of my life.”

Alice Munro’s Short-story Collections:

Dance of the Happy Shades –

· Lives of Girls and Women – 1971

· Something I’ve Been Meaning to Tell You – 1974

· Who Do You Think You Are? – 1978

· The Moons of Jupiter – 1982

· The Progress of Love – 1986

· Friend of My Youth – 1990

· Open Secrets – 1994

· The Love of a Good Woman – 1998

· Hateship, Friendship, Courtship, Loveship, Marriage – 2001

· Runaway – 2004

· The View from Castle Rock – 2006· 2009

Too Much Happiness – · 2012

经典短篇英文小说 第4篇

【关键词】输出驱动假设 英文短篇小说 大学英语写作

引言

目前国内大学英语写作教学主要思路是先输入，后输出，通过增大学生的基础输入，以达到从量变到质变，进而提高英语写作能力。但多年来，效果不佳，这点从历年来学生在大学英语四级中的写作水平便可以反映出来。2008年，北京外国语大学文秋芳教授提出“输出驱动假设”理论，关注二语教学效率问题，引起学术界的巨大响应，纷纷尝试以英语能力输出为目标，来带动输入，盘活学生在中学期间所学到的“惰性知识”，从效率，质量上看，学生的英语各项能力都有有效提升。本文提出，在输出驱动理论下，通过深度阅读英文短篇小说对提升学生英文写作能力是非常有效的，并对短篇小说在写作能力培养过程中所实现的功能进行分析。

一、“输出驱动假设”理论

文秋芳教授提出输出驱动假设（output-driven hypothesis）主要针对接受正规外语教育、具有一定外语语言基础的学习者。大学生经过高中的基础学习，其实已经掌握了英语应用的基本知识储备，只是这些知识尚属于“惰性知识”，仍未盘活，需要一种内驱力将其调用，同时促进为进一步的知识储备。因此该假设强调：1.在教学过程方面，输出对外语学习的驱动力要远大于输入。因为输出不但可以促进知识的接受，同时也能激发学生们对于语言使用的渴望。2.就教学目标而言，学习者可以任意选择一种或者几种英语技能作为自己的学习目标。有一点要值得注意，输出驱动假设所关注的是二语习得的效率问题，而非二语习得假设。

面对当下世界的飞速发展，职场对大学生英语能力的要求也多有不同，有笔译，口译，口语，写作等等各项能力。要求学生在大学期间同时掌握多项能力显然是不切实际的，因此选择一项或几项能力对于大学生职场需求有实际意义。

二、读写一体化教学

输出驱动假设理论让我们意识到以下两点：第一，英语的学习在输入和输出方面是不能分割的。输入为学习者提供了语言基础，是输出的前提。但如果没有输出的驱动，对输入的质量，兴趣，长久性都会有影响。在日常教学实践中，我们可以发现，缺少输出实践，学生在学习上的主动性会非常不如人意。第二，写作这一实践活动也可以对阅读的输入质量进行检验，比如包括对词汇，短语，句式，段落结构，篇章结构，文体等的掌握程度。由此，我们也可以意识到以写作为目的，这对于阅读时要提出什么样的要求。

三、英文短篇小说作为输入的优势

英文小说与英文写作相辅相成。英语写作是阅读结果的反映。英语学习是语言技能的学习过程，而短篇小说可以提供一个良好有趣的学习环境，这里面包含了文化，俚语，作者的特殊表现手法等，个别小说的语言的运用更加细腻。这些综合运用为学生提供了一个很好的范例。

另外短篇小说篇幅恰到好处，既不会因为过短而导致语言的运用不够深入，也不会因为过长使得学习的时间增大，使学生失去耐性。从短篇小说对英文写作的培养方面，我们对其功能进行以下分析：

1.拓展英语写作的语言知识。英文小说是语言使用的精华，语言丰富多彩，题材极为广泛，这其中涉及到如场景描述，言语对白，甚至影视剧本。这些表达对于语言素材的积累非常重要。除此之外，还可以不断强化对词汇，语法，句法，段落，篇章等等的体会及运用。这对构建篇章从整体到细节都有很好的借鉴意义。

2.深入了解中英思维差异。通过阅读原汁原味的外文小说，可以学生体会到中外两种思维对同一事物的表达差异，这一方面涉及到语言结构差异，一方面涉及到跨文化知识，而文化对思维的影响是深远的。

3.丰富英语写作的情感意思。在传统的英语写作学习中，教师与学生的更多精力都集中在语言本身，但对写作时需要驾驭的情感层面则未曾感知。写作是语言综合运用的过程，这里面必然包含作者很丰富的情感因素，英文小说的阅读不但可以了解作品的情感，也能提出自己的见解，有效促进学生的思考和感悟，这为英语写作打下情感基础，这才是写作的灵魂。

四、结论

本文提出输出驱动假设下，以提高大学生英文写作能力为目标，以写作实践作为驱动力，通过英文短篇小说这一语言形式进行分析，总结出该教学方法对于英语写作能力的提高是有效的，对实际教学有很好的指导意义。

参考文献：

[1]文秋芳.输出驱动假设在大学英语教学中的应用：思考与建议[J].外语界，2013（6）：14-22.

[2]王雯秋.基于“输出驱动假设”的大学英语读写一体化教学改革探索[J].重庆与世界：学术版，2013，30（5）：58-62.

[3]蔡爱春.英语小说阅读对英语写作影响探究[J].校园英语旬刊，2014（10）：11-11.

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豆瓣评分：8.5分

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本书收录了海明威的十一篇短篇佳作。雪山上的豹子，河边的垂钓人，咖啡厅中的老者……十一个貌似淡薄的故事蕴含了人世间言不尽的沧桑。海明威独特的“冰山”式文风在他的短篇小说中得到了最佳的呈现。

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豆瓣评分：8.5分

内容简介

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内容简介

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书单君说

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作者：J. D. 塞林格

豆瓣评分：8.5分

内容简介

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书单君说

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豆瓣评分：8.6分

内容简介

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书单君说

寥寥数笔，或露骨或幽默或沉思或压抑，却有着超时代的尖锐。写尽了人性的阴暗面。冷冽的故事里又充满了极强的画面感，奥妙非常!

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作者：雷蒙德·卡佛

豆瓣评分：8.5分

内容简介

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书单君说

这是一本充满后现代艺术风格的小说，卡佛写出了真实的，底层小人物的生活，同时又在小说里留下大片的空白，等着你去填补。极简的文字下彰显着生命的厚度，大音希声。

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作者：博尔赫斯

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这个星期，我看了《莫泊桑经典短篇小说》。其中的故事有非常多，有《羊脂球》、《等待》、《幸福》、《项链》、《我的叔叔于勤》。他的短篇小说构思别具匠心，情节变化多端，描写生动细致，刻画人情世态惟妙惟肖，令人读后回味无穷。

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