Spring 2026
american subterranean

United States Fiction and Film
from the 20th and 21st Centuries

ECL 526 / MALAS 600D
Tuesday Thursday 12:30PM to 1:45PM 

HH 150, Professor William Nericcio
Office Hours, 2-4 Tuesdays


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                                                             ecl 526 / malas 600D



hat happens when the American Dream flips itself inside out, when the neon billboard of liberty flickers and burns out, leaving us groping in the dark for meaning? That’s where this class begins—not with the sunlit slogans of the republic, but in the crawlspaces and trapdoors where the real stories live. The American Subterranean is nightmare as mirror, comedy as confession, noir as national anthem. We will dig through texts, images, films, and fictions that refuse to behave—works that fracture, joke, scream, and seduce all at once.

This isn’t a polite march through the canon. Think of it instead as psychoanalysis for a country addicted to its own myths. Dreams, after all, are never innocent—they are coded dispatches from the unconscious. So too with American culture: its novels, its films, its graffiti, its TV satires, its haunted photographs. Each is both an artifact and a symptom, and together they chart the hidden underside of “America,” that fractured experiment in freedom, exploitation, comedy, and catastrophe.

The class is an invitation to discovery, to epiphany: you’ll be asked to plunge into the shadows, to make sense of laughter that wounds, of beauty that unnerves, of language that refuses closure. And we will do so on both sides of the American border as the American Subterranean has a fascination with the peoples along and in our Southern border. By semester’s end, you’ll have your own map of the underworld—a passport stamped by ghosts, rebels, dreamers, and tricksters.

English majors, MALAS grad students, curious wanderers: bring your questions, your
obsessions, your flashlights. The elevator to the basement is waiting.

Authors/artists include David Lynch, Emil Ferris, Thomas Pynchon, Charles Bukowski, Chuck Palahniuk, Francesca Woodman, Diane Arbus, Oscar Zeta Acosta, Hal Hartley, Stephen Shainberg, and Nathanael West

READING LIST
Click the book picture to see the edition of the book we will be using in class; they should all be available soon via the Campus Bookstore, though Bukowski and West will be late owing to some Professor's addled brain.
MOTHER NIGHT: A NOVEL
KURT VONNEGUT



DRONE VISIONS : A BRIEF
CYBERPUNK HISTORY OF
KILLING MACHINES
NAIEF YEHYA





CHARLES BUKOWSKI
POST OFFICE
BAD BEHAVIOR: Stories
Mary Gaitskill






MISS LONELYHEARTS
BY NATHANAEL WEST
MY FAVORITE THING IS MONSTERS
BY
EMIL FERRIS






CRYING OF LOT 49
BY THOMAS PYNCHON

REVOLT OF COCKROACH PEOPLE
BY
OSCAR ZETA ACOSTA




Last, but not least!




CHOKE
BY
CHUCK PALAHNIUK




CINEMA LIST

(SCREENED IN CLASS, Time permitting)

SECRETARY
stephen shainberg

FLIRT
hal hartley


LA JETÉE
chris marker


photo credit, above: Francesca Woodman
photo credit, page backdrop: Diane Arbus





#americansubterranean day to day calendar of delicious assignments!

Tuesday, January 20, 2025

It is the first day of class -- we enter the room filled with trepidation and anxiety. What will we study? What will we read!? Does he really expect us to read everything assigned? Is he mad? Is he, the professor, daft? This and more! No reading necessary today -- just walk into the room with your brains and wicked, whip-smart imagination!

Thursday, January 22, 2025

Kurt Vonnegut assaults our eyes and souls with MOTHER NIGHT -- an early Vonnegut classic. Read the first 50 pages or so in preparation for our discussion. Also bring pens, paper, and your deep love (or hate) for Vonnegut as we prepare for a surprise writer's delight! As film and streaming media are also part of the class, we might also stare at a screen for awhile!




Tuesday, January 27, 2025

And voila! It's the second week of class -- you enter the room and this is the last page you have glanced at ...



... as you are charged with reading up to page 203 in your edition of MOTHER NIGHT, to the end of chapter 35.  At two points during your reading, write down a passage -- no more than four or five sentences -- that you view to be either key, provocative, fascinating, upsetting, odd, peculiar, or epiphany-inducing.  Bring those to class with you today!

Thursday, January 29, 2025

We enter beautiful, historical Hepner Hall having completed our reading of MOTHER NIGHT by Kurt Vonnegut.  We have even made the time, maybe, if so motivated, to watch, before class, the entire Charlie Rose interview here and, if passionately driven, to read the PLAYBOY MAGAZINE 1973 interview with Vonnegut.

But class will begin with a curve ball as we screen Chris Marker's LA JETÉE -- a classic melange of photography and film that echoes and mirrors MOTHER NIGHT in ways that may prove beneficial to our discussion.

The image just below links to a Vimeo broadcast version of Marker's cinematic/photographic experiment in visual storytelling.




Tuesday, February 3, 2025


We turn from the scathing literary irony of Kurt Vonnegut to the intriguing cinematic experimental dalliances of Hal Hartley. As the lights dim, we will screen the first two sequences of Hartley's FLIRT (1995). Released thirty years ago, the film sparks longing and loathing in equal parts among its screeners. Risking that reaction is worth it for this class, focused as it is on what I am calling the "American Subterranean." Flirting, as a concept, is intriguing -- doing it can lead to adventure, discovery, catastrophe, and disaster. In class, we will flirt with FLIRT -- assessing what, if any, overlaps it shares with MOTHER NIGHT, but also working it the other way: how does a screening of FLIRT impact or change our reading of MOTHER NIGHT when it comes to understanding subterranean Americana. Consider as well any resonances between Chris Marker's experimental storytelling (an anthology of photographs masquerading as a "motion picture," LA JETÉE, vs a narrative triptych, masquerading as a single film).

For those of you who love reading and are miffed you only get to screen and talk about movies in a literature class, read ahead in Naief Yehya's DRONE VISIONS for next week, pages 9-43
Thursday, February 5, 2025


Today we finish our screening of FLIRT, Hal Hartley's engaging and compelling triptych. In class we will consider the nature of the triptych -- a formal complication that makes the job of critic and commentators that much more difficult.

Just as the narrative frames employed by Vonnegut highlighted the fictionicity of MOTHER NIGHT, its constructedness, Hartley's repetition, -- the same script (mostly) in three different contexts, New York, Berlin, and Tokyo -- makes it hard for us NOT to think metatextually, to not see the constructedness of his cinematic opus.  Does this play with form have anything to do with the subterranean, with the unconscious?


Again, as we are watching film, studying cinema, it's good to be reading first-rate film analysis/cultural studies. Read page 44 to 83 in DRONE VISIONS.




Tuesday, February 10, 2026

Walk in to class having finished your reading of DRONE VISIONS -- a critical avatar of cultural studies in the digital age. Yehya immerses us in the dark realities of murder by remote control and suggests that fiction and film, mere "entertainments," actually set the stage for our age of drone realities. Bracing writing for a 21st century encounter with technology and psyche.
Thursday, February 12, 2026


Leaving the visionary cinema and prose fiction of Hal Hartley and Naief Yehya, we dig deeper into the gnarly rhizome web of #americansubterranean26 as we turn to the mad paranoid America of THOMAS PYNCHON and THE CRYING OF LOT 49 (1966).

Enter our cramped, though lovely, Hepner Hall 150 having
read to the end of page 63, to the end of Chapter 3. In addition to being an "American" novel, this is also very much a key piece of Californiana -- as you read, see how many references to Califas you can spy that would only be recognizable to a "local" born and raised Californian! Additionally, be sure to be on the lookout for figures, scenes, and themes that jive with our focus on what we are calling existential noir: mirrors, duplicity, paranoia, shadows, darkness, and more. For instance, ponder the following -- why is a haunting painting, "Embroidering Earth's Mantle" by a Spanish ex-pat who relocated to Mexico, Remedios Varo, woven into the DNA of this singular novel? Click the image opposite and study it before reading the novel.








Tuesday, February 17, 2026



You enter the room having finished Thomas Pynchon's novel!

Pynchon's novel does not come out of nowhere -- something had happened to Americans and "America" since Fitzgerald's Gatsby was all rage on the East Coast, and since Hemingway's stoic heroes braved the wilds of Europe for war, existential crisis and more.

Featuring Oedipa Maas, one of the more striking characters in 20th century American Literature, 'Lot 49, plumbs the depths of the #americansubterranean26 -- a perfect, timely compliment to our American age of fear, loathing, QAnon, fake news and more.



Really, is Oedipa's conundrum any less profound than our own? She confronts, as we do an American republic beset by subterranean resistance -- much of it to fictions consumed at face value as "real."

Pynchon's micro-epic, his shortest work, packs a wallop as he treats us to a labyrinth of dark shadows and disguised players. 

In the end, we walk into this 20th century heart of darkness knowing less than when we came in, and fearing more. When you finish the novel, read this feature piece on Pynchon from New York Magazine's The Vulture.



Thursday, February 19, 2026

Sadness echoes through the realm as you peek at your calendar entry for today and see nothing/nada. Let the tears flow as there is no class for today. Use the time to read ahead in Mary Gaitskill's collection of uncanny tales. Gaitskill and Bukowski are paired together in our tour of the American Subterranean. For the next few days allow the back to back juxtaposition of their American reveries to saturate your psyches!





Tuesday, February 24, 2026
Thursday, February 26, 2026

More tears as class is on hiatus again as I jet to the University of Massachusetts, Amherst for a invited lecture and Mextasy exhibition. For class, continue your twin-exposure to Gaitskill / Bukowski's revelations concerning Homo Sapiens Americanus.




Tuesday, March 3, 2026



 

Thursday, March 5, 2026





Tuesday, March 10, 2026
Thursday, March 12, 2026






Tuesday, March 17, 2026

Thursday, March 19, 2026

MIDTERM, in class! HH 150






Tuesday, March 24, 2026


A special day as we leave HH 150 for a room to be announced. 100 4th Graders from San Diego Unifieds' Porter Elementary are visiting campus and they will sit in on a class I will lead on James Baldwin's "The Fire Next Time" and "Notes of a Native Son." We will work to ensure that the 4th graders get to participate as we serve as their hosts!
Thursday, March 26, 2026

No class! Early Spring Break. Why! What's wrong with you Professor Nericcio!?  I will be traveling East for this cool graduate student conclave!







Tuesday, March 31, 2026

No Class!


Thursday, April 2, 2026

No class!







Tuesday, April 7, 2026

No class today at SDSU's main campus as I am hosting a lecture by Gabriel Trujillo at SDSU's Imperial Valley campus. There Trujillo, Profe Efren Lopez, and myself will host a feature event focused on his new book: CALL ME BORDER.

You are invited to attend, of course, but I understand if it is too far away!
Thursday, April 9, 2026







Tuesday, April 14, 2026
Thursday, April 16, 2026






Tuesday, April 21, 2026
Thursday, April 23, 2026

Enter the room having read the first 100 pages or so of Chuck Palahniuk's CHOKE. Fasten your seatbelts for a ringside seat at a festival of the American Subterranean!





Tuesday, April 28, 2026

Enter the room having read the next 150 pages or so of CHOKE. The etymology of the term "choke" is curious. The novel is moreso!

Thursday, April 30, 2026

at a site to be determined ....
from 12:30 to 1:45pm


Chuck Palahniuk at SDSU! In the flesh!





Tuesday, May 5, 2026

FINAL EXAM, in class! HH 150








theSKINNY

How You Will Be Evaluated and What You Have to Do to Succeed!

s we navigate this sin and cinema labyrinth of a class, the first thing you have to determine is who you are and where you are in your own personal academic adventure. As our class blends undergraduate ECL majors/minors with assorted MFA and MA graduate students, the rules of the game vary depending on which constituency you belong to!

Undergraduates in the class will be largely evaluated on the basis of their day to day class participation, in-class writing, and performance on the midterm and final. Graduate students performance will be similarly evaluated but you have the choice of skipping the final exam for a final essay.

Whether you are a part of one or the other, all of us (including me!) are expected to come to every class having completed the reading and writing assignment for a given day.  These appear in your day to day literature/cinema adventure calendar!

All of us are going to be serious about cinema and literature -- and about "sinema," whatever that turns out to be! But not serious in the "heart-attack" sense of "serious"; more like serious in the "great, now i have to be accountable for my intellectual range, preparation, imagination, and curiosity" sense.

So my expectation is that you will enter each class session having carefully completed the assigned reading for a given day -- after all, if you do not intend to keep up with the readings, why be part of the adventure?

My desire is that you will come to each class on Tuesday and Thursday having both prepared the material by doing the reading, but that you will also have surveyed recent reviews on said work, look up if there is any sexy research on the work or in the field of said work, and, lastly, even, preparing questions (both discussion questions and close-reading-related questions) to share with your professor and your fellow students.


Mid-Term Exam & Final Exam

There will be two exams during the course of the semester -- a midterm,  Thursday, March 19, 2026, and a final exam, Tuesday, May 5, 2026. You will also have the opportunity to write a final paper in lieu of the final exam. More information on this to follow.


Grading Information
 


UNDERGRADUATES, ECL 526

In-class free writes / writing challenges, class participation / attendance, social media-postings, etc.  
--> 33%

 
MidTerm, Thursday, March 12, 2026          
--> 33%


Final, Tuesday, May 5, 2026                        
--> 33%


Chutzpah, ganas, will, & drive                     
--> 1%




GRADUATE STUDENTS


Note: Graduate students have the option of skipping the final exam and concentrating on their seminar essay option. Undergraduates, too, are welcome to write a brief essay; drop into office hours to discuss this option.

GRADUATE STUDENTS OPTION 1

In-class free writes / writing challenges, class participation / attendance, social media-postings, etc.    
--> 33%

 
MidTerm, Thursday, March 12, 2026          
 --> 33%


Seminar Essay Option                                  
-->33
%

 
Chutzpah, ganas, will, & drive                     
--> 1%


GRADUATE STUDENTS OPTION 2

In-class free writes / writing challenges, class participation / attendance, social media-postings, etc.    
--> 33%

 
MidTerm, Thursday, March 12, 2026         
 --> 33%


Final, Tuesday, May 5, 2026                        
--> 33%


Chutzpah, ganas, will, & drive                     
--> 1%


Seminar Paper
(Optional for both graduate students and undergraduates).

It is expected that you will produce an amazing piece of rhetorical excellence in the course of the semester -- a seminar paper or essay. To that end, you will submit to me by noon, Friday, May 1, 2026, via email to bnericci@sdsu.edu, a well-researched, nicely crafted, exquisitely-honed critical essay anywhere, 12-15 pages. The essay should be typed, double-spaced, and carefully proofread.

What will this beautiful essay be about? That's the fun part! Let us first consider the obvious: you are an advanced undergraduate or graduate student.

What does that mean? It means that you are a scholarly apprentice of sorts. You are one in a long line of individuals who aspire to scholarship--someone who aims to produce an exegesis of the first order.  Like it or not, one of the things that will determine whether or not you have what it takes to get past the gates at the ivory tower is your writing. It used to be that writing for literary journals was an extended exercise in pain and self-abuse. But the field is changing and so are its journals. That is the easy part.

How will you go about imagining this essay? Please have your essay derive or be based in large part on a text, author, director, theme, genre which is part of the required material for our class; moreover, I am also open to you conceiving of your submission to me as a draft chapter from your master's thesis, or a possible submission to critical journal.

Footnote vs. endnote? MLA style vs. Chicago style vs. APA style?

These controversies have been solved for you in advance. As part of your assignment, I want you to immerse yourself in the variety of journals now publishing essays in , literature, film studies, cultural studies, comparative literature and contemporary studies in comparative cultures. You may complete this immersion here at SDSU's Love library, at USD, or UCSD.

Some pretty good journals include: american literature, boundary 2, critical inquiry, social text, pmla, south atlantic quarterly, camera obscura and cinema journal.

Think of your essay, then, as an exercise in role-playing--any question you might have about format, tone, styles, footnoting tactics and the like will be answered by the editorial policy of the journal you select as your guide. Do please submit with your seminar essay, a copy of one essay from the journal you have selected that represents to you the BEST that journal has to offer. Also, if you can find it, include a xerox of the page in the journal where they tell prosepective contributors how to format their submissions.

Do note that our library has great, full-text, online journal archives like project muse and jstor--if you are off campus, you may have to log-in through the SDSU Libweb server reference index to access these invaluable index. If you have any question as to the appropriateness of a journal just give me a call or pull me aside and ask me.

What can you write on? Well, just about anything. I imagine the best exercise will be to throw all your books and notes on a table, think about what are some of the provocative issues that have stayed with you during the term and then head off to the library and those endless stacks of scholarly journals. By the time you’ve paged through all those journals and get back to your books and notes, you’ll have a firmer grasp on the goals of your analytical adventure. You’ll also probably have a headache -- welcome to academe.

Seminar Paper Prompts


Seminar Paper Prompts

I don't usually give out essay prompts to graduate students--the reason for that is simple: graduate students should be pursuing their own line of research, building on the required readings for the class, but also, then, voraciously researching hunches/ideas that appeal to THEIR intellectual sensibility. However, I realize that not all graduate students in an MA program are ready for that level of engagement, so I will provide here, for your entertainment and delight, a short list of seminar paper prompts:

1.
a. Select a journal you adore and want to imagine yourself published in--use it as an editorial template of sorts to guide the completion of your essay.
b. Author an original piece of scholarship that speaks to some idea that connects two or three of the works we have read this semester with a couple of recent scholarly essays on literature and cinema in the 20th and/or 21st century.

2.

a.
Select a journal you adore and want to imagine yourself published in--use it as an editorial template of sorts to guide the completion of your essay.
b.
Redefine the term "American Subterranean" using two works we have experienced this semester.

3.

a. Select a journal you adore and want to imagine yourself published in--use it as an editorial template of sorts to guide the completion of your essay. 
b. Go to this page from a class I taught back in the day. Take one of the essay prompts and warp it, adapt it, combine it, deconstruct it in such a way that it enables you to write about ideas associated with two or three of the works we read this semester.

4.
Roll you own. Make up your own thesis that incorporates two or more works from our required reading this term.

More to come!



Office Hours

My office hours are on Tuesday afternoons, after our seminar, and by appointment, in Arts and Letters 273 (though you may find me in AL 283 from time to time)
.

Do please make the time during the course of the semester to come on out and  introduce yourself and be a real, living, breathing, person -- the social dimension of intellectual life is
key to your development as a graduate student and, believe it or not, it will make it easier for you to emerge as a dynamic agent of our seminar. My phone number here at SDSU is 619.594.1524, but the best way to make sure you get hold of me is email: 

bnericci@sdsu.edu

My office is pretty easy to find, it's at the end of the hall to your left after you enter the Arts and Letters building 2nd floor, ground-level entrance.  Click the image opposite  to see what awaits you!



More Stuff


RULE 1:
BOOKS_BOOKS_BOOKS

BUY THE BOOKS AND READ THEM--DON'T COME TO SEMINAR WITHOUT YOUR BOOK! Though we very much adore living in the 21st century, we will, for the most part use ANALOG, printed books in this class. So check out each one and buy them now!

RULE 2:
READ_READ_READ!

When you enter this room for class you will have completed the reading that appears on the day-to-day class calendar, aka the Day to Day Calendar!  Please note the word "finished" (not "started," not "skimmed," not "glanced," and most decidedly NOT "I read the Cliffs/Sparks Notes and a review of the damned thing online!"). Coming to a university literature/film/cultural studies class without doing the reading is like a gardener trying to raise roses without getting her/his hands filthy with shit, a surgeon trying to operate without a scalpel, a fireman without her/his ax, a prostitute without ..., ... er, ... well, I better stop there -- you get the gist of it.

RULE 3:
PUT THE ELECTRIC MONSTERS TO SLEEP!

Ok, the following Passport Rule 3 was also written pre-COVID ... I am leaving it here for the gags, image and link!

Your laptop will be asleep IN YOUR BAGS during class--or, better yet, resting in your dorm room or apartment.

Have you noticed how anytime a student uses a laptop in an auditorium there is a "cone of distraction" alongside and behind the student using a computer?

This is usually due to said student surfing the web via wi-fi perusing erotic delights or god knows what. I was recently at a cool (ok, it was slightly boring, I confess) lecture by a noted writer--as I tried to listen to her, in front of me, a diverted student (attending the lecture, no doubt, for extra-credit) was perusing sites like these (nsfw or school). So, laptops are GREAT for entering your notes AFTER class, but they will not be allowed in our lecture hall. If you have an issue with this, schedule a meeting with me during office hours to chat the first week of class.

RULE 4:
PARALYZE THE SMARTPHONE!

Your beloved magnificent iPhone, your cherished Galaxy, your fetishized Pixel, or even your primordial pager will be off, off, OFF during class meetings; if for some reason you are expecting an emergency call, set it on VIBRATE (for privacy, pleasure, or both!) and sit in the back near an exit after letting me know in advance before class that you are expecting an emergency phone-call. Cellphones KILL collective spaces of learning with their ill-timed, annoying clattering rings, bongs, squeaks, chirps, and themes.

Yes, the trauma of that delayed text, yes, the horror of that missed hook-up call, yes, the loss of the buzz of that random Tinder swipe will no doubt doom you to years and years on an psychoanalyst's couch, but we, the rest of us, will gain some silence, a kind of sanctuary without which ideas wither on the vine.

RULE 5:
Don't Be a Charlie-Delta_Thief

PLAGIARISM is for cads, thieves, and idiots who desire an "F" for the class. Plagiarism comes from the Latin word, "plagiarius" which means kidnapper, plunderer, or (get this!) thief--not a GOOD thing.

In the university, plagiarism refers to the art and crime of presenting other people's work under your own signature, aka cutting and pasting copied crap from Wikipedia--definitely a BAD thing. While your professor is forbidden by CSU/SDSU code from tattooing the word LOSER on the foreheads of guilty students, he can promise that felonious students will be remanded to the state-authorized SDSU executioners.  Read THIS as well--SDSU is SERIOUS about this shit, so don't take any chances!  Rely on your own singular mind and imagination!

RULE 6:
AI CAN BE TOXIC TO A STUDENT OF LITERATURE


But we don't have to worry about that as all our work will be done in class on paper with ink, blue or black ink please, as your aging professor's eyes are not what they used to be!

Lobby promotional photos for an American Subterranean
classic, Touch of Evil, 1958, directed by Orson Welles
.



MORE INFORMATION FROM SDSU

LAND ACKNOWLEDGMENT

For millennia, the Kumeyaay people have been a part of this land. This land has nourished, healed, protected and embraced them for many generations in a relationship of balance and harmony. As members of the San Diego State University community, we acknowledge this legacy. We promote this balance and harmony. We find inspiration from this land, the land of the Kumeyaay.

ESSENTIAL STUDENT INFORMATION


For essential information about student academic success, please see the SDSU Student Academic Success Handbook.

 

      SDSU provides disability-related accommodations via Student Disability Services (sds@sdsu.edu |https://sds.sdsu.edu/). Please allow 10-14 business days for this process.

 

      Class rosters are provided to the instructor with the student's legal name. Please let me know if you would prefer an alternate name and/or gender pronoun.

AI PolicY


Students should not use generative AI applications in this course except as approved by the instructor. Any use of generative AI outside of instructor-approved guidelines constitutes misuse. Misuse of generative AI is a violation of the course policy on academic honesty and will be reported to the Center for Student Rights and Responsibilities.