In his short story “The Kugelmass Episode,” Woody Allen extends the relationship between reader and text posited by reader-response critics. “The Kugelmass. The Kugelmass EpisodeWoody Allen Source for information on The Kugelmass Episode: Short Stories for Students dictionary. “The Kugelmass Episode” opens with Kugelmass, a middle-aged, unhappily married humanities professor seeking the advice of his analyst, Dr. Mandel.

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Vince rated it it was amazing Fpisode 18, But this story was different in that he ends the story with a bit of disenchantment and “reality. He can’t help in that area, Persky says, because “I’m a magician, not an analyst. Persky is an unsuccessful entertainer who nonetheless continues at his trade and hustles to earn a living. Martin rated it it was amazing Mar 03, Soon Emma gets bored with life in a New York hotel as the novelty wears off.

He built his cabinet for a booking for the Knights of Pythias that “fell through,” he tells Kugelmass, and he aims to make money from Kugelmass from his contraption. But what he doesn’t even consider is that Flaubert’s novel is not about perfect love at all but the ridiculous idealization of it by the title character—which leads to her utter ruin. The lesson that both characters learn, and which we can learn from their stories, is that painful though it is, humans must return to and live with reality, and reality has no happy ending.

When he has had enough, Kugelmass just has to give a yell and he is back in New York.

The Kugelmass Episode – Side Effects :: Woody Allen

Mandel, Persky, and even Kugelmass’s jealous colleague, Episoed Kopkind. The irony at the end of the story is that Kugelmass, who has been in the pursuit of things that he thinks he must have, is himself pursued by “having,” as the “large, hairy” irregular verb “tener” chases him over a rocky landscape.

By the end of the ’60s, the presence of Jews in the New York comedy scene had moved from vaudevillian acts to the forefront of radical social change.

Really quick but really good. The story uses elements of Jewish humor, with the peisode character cast as a schlemiel, or bungler, the use of exaggeration for comic effect Kugelmass notes, for example, that Emma’s hotel tab reads “like the defense budget” and its concerns with the anxieties of urban life.


Both these characters show the most shallow side of the entertainment industry, that focuses not on art but on money and fame. I’ve paid enough analysts. The entire fantastic situation of being transported into a fictional realm is undercut by characterizing it in mundane terms.

Haberstockj rated it it was ok Dec 30, When she finds herself unable to get back to the novel, she complains to Kugelmass that watching TV all day is boring; kugelmasx wants to take a class or get a job.

Her real world, in comparison, is disappointing, deceitful, and the good guys never win.

It’s the basis for the excellent Purple Rose of Cairo. There are no discussion topics on this book yet.

These two names refer to items often made fun of by Allen—the Jewish culture and show business, kugwlmass. She thinks anyone can act and wants to be coached by the great Strasberg so she can win an Oscar. Baxter goes back to his film, but then Cecelia is betrayed by Shepherd; after he gets Baxter back into the movie, he returns to Hollywood, and Cecelia is back to her dreary existence, her only respite once again the magic of the movies.

Kugelmass is dissatisfied with his life, and he yearns not for love but for a cheap idealization or glamorization of it that is the stuff of romance novels. Curiously Kugelmass gets a phone call from a magician, The Great Persky, who will later tell him that “[he’s] a magician, not an analyst. In the story, Kugelmass is kugemass and seeks a khgelmass from his dull, humdrum existence.

For inspiration, Allen draws heavily on literature, philosophy, psychology, Judaism, European cinema and New York City, where he was born and has lived his entire life.

Allen writes and directs his movies and has also acted in the majority of them. A humanities professor at the City College of New York, Kugelmass is bored with his humdrum life and is transported epsode the pages of Gustave Flaubert’s Madame Bovary, where he has an affair with the title character.


The Kugelmass Episode by Woody Allen

When Vaudeville theaters were replaced by nightclubs in the s and 40s, comedy became less physical and began to focus on language and observations about the incongruities and anxieties of life. You can find it on google. But while Allen satirizes Jewish culture, speech, and manners, he never does so harshly, and his characters are crazy but ultimately likeable, and the colloquial speech they use in the face of such serious situations is perhaps the most humorous element in the story.

Kugelmass adds to the meaning of Madame Bovary, just as we add to the meaning of “The Kugelmass Episode. Once there, he is happy because he is “doing it with Madame Bovary” and thinks he has the “situation knocked. Retrieved December 31, from Encyclopedia. Instead, Persky’s magic cabinet sends Kugelmass to a remedial Spanish book where he is chased by the verb tener while the magician dies of a heart attack and his magic cabinet bursts into flames.

The story draws on Jewish humor and culture as well as classical and modern literature, using lowbrow humor to spoof high art.

His heart is light, and he thinks he is in love. He confesses he’s been watching Cecelia while she has been watching him, and is falling in love with her. In his short story “The Kugelmass Episode,” Woody Allen extends the relationship between reader and text posited by reader-response critics.

The Kugelmass Episode

No trivia or quizzes yet. Allen throws in a number of references in his story to classics of literature that reinforce the absurdity of Kugelmass’s quest kugelmass resound with his general predicament. The characters are broadly drawn and have stereotypical traits. Throughout the story, Allen uses lowbrow humor to poke fun at serious, high art by combining it with absurd and farcical situations.

He suggests the social-climbing title character of Theodore Dreiser ‘s Sister Carrie and the mad Ophelia in Shakespeare’s Hamlet, for example.