A couple of weeks ago, I was walking toward a car with someone in the field and mentioned the pleasure I’d taken in being a part of the production process that helped move her article from acceptance toward publication. It was a cool, damp, overcast afternoon, and we talked about the production process: how we correspond with authors, the various checks and edits that get made once a piece is accepted for publication, and the real-life material contexts in which that work gets done. Academic buildings crowded bare trees behind us, and in front of us a hill sloped down with roads and paths to a narrow river. Our conversation took place among meetings and introductions and arrivals and conversations and meals, the recounting of the enjoyment of the work of production taking place in its own situated material contexts.
Here’s a portion of the story I told in that conversation: two summers ago, I was on a road trip; the Orientalist and I traveling by car from New York to Michigan to Pittsburgh to Delaware to the Assateague National Seashore for a wedding, and then back up to New York. I had academic work to do, and brought along my laptop, an AC inverter to power the laptop from the car, and an old iPhone 3 that I’d jailbroken to broadcast its cellular data connection as a wireless hotspot. I was doing editorial work at 65 miles per hour, uploading and downloading draft files and making changes and asking via email for specific corrections and adjustments, and at one point, I found myself finishing up the edits by evening lamplight and firelight on a picnic table at the Cape Henlopen State Park in Lewes, Delaware, just outside the tent we’d set up, within peaceful earshot of the Atlantic surf. That was the pleasant memory of the production process that I shared on that cool, damp, overcast afternoon, two years later and thousands of miles away.
Both of those stories — the conversation and its internal flashback — are production narratives. They’re reflective stories about how texts (and the material and immaterial relations and contexts and labor that permit and constitute and shape them) get produced. I like production narratives, and I use them in my teaching: for every major assignment students turn in, I ask them to write a reflection about those material and immaterial relations and contexts and labor. For them, it’s actually a somewhat familiar genre, especially when I ask them to make the self-aware turn toward metacognition: as Kathi Yancey’s wonderful book and other studies have convincingly demonstrated, metacognition promotes knowledge transfer, and the Army makes use of that positive relationship in its systematic use of After-Action Reviews, or AARs. The cadets have all done AARs and know how they work and use AARs to refine and improve their process as well as to make what they’ve learned stick, so I sell the reflective production narrative to them as a form of AAR.
Beyond fulfilling those purposes of knowledge transfer, though, I think Kairos also points out in compelling ways how production narratives function as scholarship. The Inventio section is one of my favorite sections of the journal (well, in addition to the one that I’ve recently been promoted to editing — thanks, Cheryl and Doug!) because of cool, smart, charming webtexts like Susan Delagrange’s “When Revision is Redesign” and Daniel Anderson’s “Watch the Bubble” and the ways they demonstrate the pleasures of the text in demonstrating, analyzing, and performing how scholarship gets produced. Kairos describes the section as “focus[ing] on the decisions, contexts, and contributions that have constituted a particular webtext. Inventio authors include, alongside or integrated with their finished webtexts, materials that help them articulate how and why their work came into being.” Again: critical, reflective production narratives. But I’ve also started to see my own scholarship turning in that direction as well: I’ve recently sent off an extended economic analysis of how the Army’s plagiarized field manual was produced that attempted to account for the material and immaterial relations and contexts and labor that demanded and constituted and shaped that significant piece of doctrine, and I’ve got articles in the works that perform a sort of time-use study of the production of other pieces of scholarship, as well, and the Orientalist and I are starting to work on a study that attempts to account for the relationship between faculty time, scholarship, teaching, and student time in quantitative terms. So, yes, again: critical, reflective production narratives about how scholarship gets produced and — at a more abstract level — how education gets produced.
I’m a little uneasy, though, about the quantitative focus of that last study I described, because I think it departs from my particular economic focus on the fundamental purpose of what production narratives do. Production narratives are a way of paying attention to and making qualitative sense of the work and experience of composing and producing. They’re texts that operate on other texts, including ourselves, because information is an experience good. Experience goods are not always going to be quantitatively commensurable, and this fact is what I think constitutes the mistake Victor Villanueva makes when he declares that economic analysis requires mathematics and numbers, and more seriously the fundamental and crippling flaw to Richard Lanham’s The Economics of Attention. The process of production and the attention that accompanies that process are both activities that transform and aggregate; as such, they respond poorly to zero-sum quantitative economic analysis. If we’re paying attention to the value of composing and how it happens, we’re talking about information that is qualitative at its core. That’s part of what makes production narratives so appealing as irreducible experience goods.