Today was the "reciprocal" field day (in return for my colleague and one of her students helping me out). We started at 6:30, which is....well, I used to be more of an early bird than I am (that's something else the pandemic changed in me) but I did manage to get out of bed before the alarm I set (at about quarter to 5) and eat and dress and get out there before the set time.
It was very hot. And it was a lot of walking. And I was sore; I stepped down funny on Saturday and I think put my knee out of joint a little (I did a workout Monday but could only get 25 minutes in before I had to stop).
We did get four big plots resampled; we were out there until just after 10. I think I got a bit of heat exhaustion; at one point I just had to sit down on the ground and I really did wonder if I'd make it back to my car. I feel a little better this evening but still too warm. I have been drinking a lot of water and drank a coconut water at lunch. Hopefully that will prevent any muscle cramps.
It was also hard breathing; I didn't realize we were getting our annual lot of Sahara dust starting to blow in but when I got home and checked, the PM2.5 (the small particulate matter) was a little high and it did look hazy, so that may have been why I was struggling a bit.
I only took one photo out there, of a passionvine:
* I've mostly been working on the modified feather-and-fan pattern socks, which are knit of a colorway apparently inspired by Basquiat's paintings. I'm liking how it's turning out:
I do notice that socks with a simple pattern where I need to count rows seem to get worked on more than just-plain socks; I suspect it's that I can see the progress better. I'm already considering patterns for the "vaporwave" yarn I wound off a while back. (I wonder if there is any 80s style lace pattern....)
* I finished Murder as a Fine Art by Carol Carnac (another pen name of Edith Caroline Rivett, who also wrote as ECR Lorac). Again, I wonder why she's an almost-forgotten author; her stories are good and he writing is better than Christie's. I suppose it's the lack of a "celebrity" detective - different books have different CID men or Scotland Yard men rather than some "gifted amateur" or retired soldier or whatever who occurs over many books.
This one is set in the (short lived in the context of the book) Ministry of Fine Art, a post-war program to bring art to the masses, which involved purchasing paintings and sculpture. There was a "loans" department but also others (like an architecture group). My one complaint is there are a LOT of minor characters in the different departments who can be hard to keep straight. The main conceit is a poorly-liked undersecretary (known as "Pompey," after the Roman figure, also as a play on his name) is murdered in a fairly spectacular way (and it was first wondered if it could have been an accident he brought on himself). Later on there are issues of fraud that come out, and.....there's a lot of hunting around in the big old mansion that's become the Ministry. It was pretty interesting in its way; there were the various internecine squabbles almost like in some academic departments (the modern art people vs. the "academic art" people - I had never seen that term applied to the more traditional style of representation art, but apparently that's what they meant).
It's mostly a "procedural," none of the characters are really very highly developed (and maybe, yes, the average reader would prefer a "big" character like Poirot or Holmes, or from modern movies, Benoit Blanc, to a largely anonymous and undeveloped police sergeant and his underlings.
(I wonder now though if anyone's drawn a parallel between police procedurals and the old "morality plays," which were designed to reinforce "virtue" or "right thinking" and the characters are less important than the "instruction," most police procedurals follow the "crime is wrong and you will be caught if you commit one" format)

