of looking
of looking for lodgings in Goimr. Even in the vicinity of the palace, the choices seem to vary from shabby to grim to hazardous. In the end, I settled on a run-down boardinghouse, whose proprietor seemed not quite as avaricious and slovenly as most I had encountered. Not saying much, that. Exhausted as I was by the day’s travails, I was up half the night confronting the most sullen and difficult batch of rodents it has ever been my displeasure to encounter.
The next morning—not much rested, I can tell you—I returned to the travel station and obtained my belongings from the locker. I then set out in search of other lodgings in a poorer part of town. My experiences of Goimr had so quickly lowered my threshold of fastidiousness that I was determined, at the least, to find lodgings which were not exorbitant in their price.
By early afternoon, I had wended my way into a truly disreputable part of the city. Truth to tell, I had long since forgotten about finding new lodgings. I had become absolutely fascinated by the baroque squalor which surrounded me. Ozar, of course, has its miserable tenements and ghettoes, like any great city. But nothing to compare to these slums!
The determination to capture this nonpareil wretchedness on canvas seized me. In part, this determination was prompted by my artist’s instinct. But, in the other part, it was prompted by my artist’s reason. For, as my uncle Giotto had told me many times, there are two subjects which—captured with paints—the rich will always pay through the nose to hang on the walls of their mansions: their own glorified features, and the misery of the poor. The misery of the poor, because it comforts them to ponder the tragedy of the human condition. Their own idealized portraits, because it comforts them to ponder their own worth in escaping
The next morning—not much rested, I can tell you—I returned to the travel station and obtained my belongings from the locker. I then set out in search of other lodgings in a poorer part of town. My experiences of Goimr had so quickly lowered my threshold of fastidiousness that I was determined, at the least, to find lodgings which were not exorbitant in their price.
By early afternoon, I had wended my way into a truly disreputable part of the city. Truth to tell, I had long since forgotten about finding new lodgings. I had become absolutely fascinated by the baroque squalor which surrounded me. Ozar, of course, has its miserable tenements and ghettoes, like any great city. But nothing to compare to these slums!
The determination to capture this nonpareil wretchedness on canvas seized me. In part, this determination was prompted by my artist’s instinct. But, in the other part, it was prompted by my artist’s reason. For, as my uncle Giotto had told me many times, there are two subjects which—captured with paints—the rich will always pay through the nose to hang on the walls of their mansions: their own glorified features, and the misery of the poor. The misery of the poor, because it comforts them to ponder the tragedy of the human condition. Their own idealized portraits, because it comforts them to ponder their own worth in escaping