Thursday, May 16, 2019

#repost from ||| My Latest Piece for Joshua Glenn's Amazing HILOBROW.COM site on Gilbert Hernandez, Errata Stigmata, Love and Rockets, and Ocular Ontology now LIVE!

Really excited that my new piece for the #awesome online mag HILOBROW.COM has gone live! See it here: . . . OR . . . keep reading for the longer (unsnipped by Hilobrow editor/magician Joshua Glenn's devilish pruners) director's cut:

Ghost in the Mirror
Gilbert Hernandez's Errata 
Stigmata Revisited
William A. Nericcio 
16 May 2019

Can it ever be written that a comic book panel, or a series of them, changed the career of an English Professor?   

Mind you, please delete the image of a be-tweeded, bearded, white man with leather patched elbows, pipe, and avuncular grin. I am a down and dirty creature of the U.S./Mexican border, and while not quite “street” I am a little scruffier than your average Ivory Tower dandy gringo.

And I am mad about comics—all comics! Richie Rich, Little Audrey, Sad Sack, the Silver Surfer, Betty and Veronica …. Don’t get me started on Betty and Veronica.

As with all images on this posting, click to enlarge!

But it is the comic I pick up in 1985—the one with Gilbert Hernandez’s “Tears from Heaven: The Life and Times of Errata Stigmata” that breaks my mind, or scars my synapses, or wounds my ocular ontological core. 

Errata, a young girl growing up in a fictional Central American town called Palomar (think Mayberry with sex, drugs, and aliens), witnesses the stabbing murder of her parents by a serial killer named Tomaso (we don’t know this in 1985—I would argue that Beto, aka Gilbert, doesn’t know this in 1985, or has not dreamed it up yet).

In that instant, in that witnessing, everything goes to pot, and her destiny is sealed.  She grows up as a precocious young adolescent being raised by a Jewish-American uncle and utterly abusive aunt, Zephie, in the United States.

The result of her murder-filled witnessing?

She suffers from the stigmata, hence her name, that is, she bleeds from the sites associated with the crucifixion of Jesus.

Jesus Christ!

In the panels here, lifted from the original comic, Hernandez focuses (pardon the pun) on the connection between seeing and being: the ocular and the existential.

In the last panel, the one I have dreams about, a dislocated, disembodied eye explodes with viscera across a mutantly giant television screen with Errata mutely witnessing.  I have gone on to to write numerous articles and soon, three books on Latinas/os and Visual Culture and I think all of them come back to that panel—the young orphaned witness with her face, unseen, to the screen.  

The smartest undergraduate I ever “taught” (I am not sure I taught her anything) the independent film maker Diana Contreras, interrupted me when I was lecturing in class about this panel at SDSU in 1991. I was speaking endlessly about the dialectical relationship between witnessing and being, between seeing and existing—you know the drill: “blah blah blah.”

She interrupts my lecture to tell me and my 120 students, "Nericcio, that’s not a TV screen, it’s Errata’s mirror."

I shut up.

I had nothing left to say.


Sunday, March 31, 2019

Limited Edition Eyegiene Archival Print: Eyegiene (logo, syringe)

Product details

an 11x17 full color glossy print signed and numbered by the artist, guillermo nericcio garcia. mailed via us postal service, media mail, flat.
$8.95 USD plus $1.00 shipping

Sunday, October 7, 2018

Eyegasm and Eyegiene in Roma! Sapienza University Lecture, April 2018

Just getting around to sharing the poster from the lecture I delivered (first time with simultaneous translation into Italian!) at Sapienza University, Rome, Italy, April 2018.  Thanks again to Tito Vagni, Antonio Rafele, and all the beautiful Italy-based graduate students and scholars that made this the trip of a lifetime!  Here's the groovy promo poster:

Here's info from the original posting:

I am finally putting the finishing touches to my my book-length study of 20th and 21st century visual culture--the original working title was Eyegiene: Permutations of Subjectivity in the Televisual Age of Sex and Race, but I am toying with adding the term "Eyegasm," inspired by successful classes I have taught at SDSU and UCSD.

Some of my graphic adaptations and thefts (semiotic transmogrification!) appear below--more on my lecture shortly, but here's the facts:

 Between Eyegiene and Eyegasm: Permutations of Subjectivity in the Televisual Age of Sex and Race
10 april, 15h-16.30
Accademia di Belle Arti di Roma (Faculty of Arts)
Aula Magna  | via di Ripetta, 2 ROME ITALY
Discussant: Antonio Rafele (Université Lille 3), Federico Tarquini (Università della Tuscia), Tito Vagni (IULM, Milano)

Saturday, April 28, 2018

English 220.06 @ SDSU Fall 2018 An Epic General Education Experiment: ROBOTIC EROTIC ELECTRIC | Professor William A. Nericcio

Robotic Erotic Electric or "I"/Eye Robot

English 220.06 Fall 2018,  Professor William Nericcio

Tuesdays and Thursday @11am in GMCS 333

Our utterly experimental and improvisational Fall 2018 section of "Introduction to Literature" (Engl 220.3—schedule # 21066) will be a veritable wonderland filled with bizarre, alluring fictional bodies. From the remarkable and haunting nightmares of Ira Levin's THE STEPFORD WIVES to the irreverent and haunting hallucinations of Franz Kafka (and Kafka's life as revisioned by underground comic book icon Robert Crumb), from the dark, sensual nightmare of a 21st century Siggy Freud in the mad prose of Lidia Yuknavitch, to the (slightly demented) exotic borderlands in the writings of yours truly in Tex[t]-Mex, our catalogue of textual and screened delights has enough controversy, outrage, and mystery to keep us busy for a lifetime. But as we have only 15 weeks to introduce ourselves to the range of artifacts that pass as literature at the dawn of the 21st Century, so things will zip along at an amphetamine-laced pace!
Make no mistake about it: this is NOT a survey of long, white-haired, sedate, upper-crust, high literature folks--we will be as obsessed with film, photography, and the internet, as we will the trappings of traditional literature. More an introduction to Cultural Studies than a long-in-the-tooth worship festival of the old classics (sorry Shakespeare, get-out th'way Milton, adios Edmund Spenser), our multi-media exercise in fictional fetishism will try to set itself apart with vivacious books, paintings, and film filled with tortured, robotic, broken imaginations. We will be strive to be eccentric (ex-centric, outside the circle) as we explore the world of alternative subjectivities, "televisual" constructions (think Facebook) where individuals make and remake themselves on a daily basis.  Robotic Erotic Electric will drive our curiousity as we try to understand why our species creates versions of itself that it then re-markets (to itself) in various media: books, film, photography, the web, etc. It turns out that the seductive fantasies, grotesque nightmares, and alluring hallucinations that our creative writers, directors, photographers, artists, philosophers make (shamans of fiction, all) form a key part of what we call our psyche: the psychology or soul that passes for the person you tell people you are. The class is open to all majors and minors and presumes no prior love or experience with literature and cultural studies.



LOGISTICS? Hit the link!


Section Details:

Schedule #21340



Full TitleIntroduction to Literature
DescriptionInquiry into basic nature of literature. What prompts humankind to creation of imaginative literature? What purposes does literature serve in cultural life of humanity? What are its social, philosophical, spiritual, and esthetic values? Some consideration may be given to techniques and major critical theories, but focus will be on practical criticism for nonspecialists. Specific works studied will be representative of several genres, cultures, and periods of literature.
PrerequisiteA grade of C (2.0) or better in English 100, Africana Studies 120, American Indian Studies 120, or Chicana and Chicano Studies 111B or Linguistics 100B or Rhetoric and Writing Studies 105B. Proof of completion of prerequisite required: Copy of transcript.

Proof of prerequisite required.