Georgescu was especially prolific in the final part of his career, when he reputedly identified with the slogan "anul şi romanul" ("a new novel every year"). According to Iulia Arsintescu, their quality declined as their author became "plagued by an illness that was harder and harder to bear." Beginning with "Mai mult ca perfectul", Georgescu was creating a new cycle, with a focus on Huzurei. The narrator Miron Perieţeanu, himself a fictional version of Georgescu, tells the successive stories of Ioan, Luca, Matei and Marcu (names based on the Romanian versions for the Four Evangelists). The events in these novels also take place during the early 20th century, covering the 1907 peasants' revolt as well as the World War I occupation of the country. According to literary chronicler Ioan Holban, the Huzurei setting is "a desolate place, stupefied by the torpor, with squeamish people always sweaty from the heat, moving idly from one tavern to another [...] and devoting themselves to that almighty goddess that is the siesta [...]. This is only a first impression, for Huzurei is 'the living citadel' of its time [...], grouping, in between its ridiculous houses and streets, a diverse world, caught in the midst of a struggle over power and money: [here] crimes are being committed, intrigues, drug traffic networks and 'wholesale' exchanges are being set up, politics are hotly debated, predictions are being made, investigations, chases take place, dramas are being consumed, people eat vigorously, and nubile girls are being sold (bought) [...]." The Huzurei narratives as a whole are thought by Cosaşu equal in value to some of their acclaimed predecessors: George Călinescu's "Bietul Ioanide" and Marin Preda's "Moromeţii".