There are a number of references to a “question of style” in Krikor Beledian’s cycle of narrative fictions entitled Գիշերադարձ (Nocturnal Return). The set refers to the jumps and cuts in the stories of survivors, “as if to survive it was necessary to have a style that would keep the extreme, the hardest and the absolute evil at bay, within a respectable distance.” The survivors are omnipresent especially in the first five volumes of the cycle. They are mostly wrecks torn asunder, victims of an extreme experience. The narrator himself is also torn apart first with the change in surrounding that ensues due to a bursary that sends him to a better school in a classy part of town, then with the change in city when he leaves his hometown and finds himself confronting his own ghosts in a foreign city. The second reference to a “question of style” appears in relation with a once seen but long lost photograph where his efforts to uncover the identity of one of the figures will end in failure and disappointment. Eventually he will realize that he does not need to see the photograph anymore. All that was needed was “a different method, a style, that would condense the unknown figure and give body to the ghost.” Here a parallel is drawn with the craft of analog photographic printing where the latent image is slowly transformed into a visible image after being immersed in the solution tray. The books of the cycle are seen as such and the style of narrative fiction itself comes under the limelight. This style is contrasted with the descriptive style traditionally adopted in recounting tragedy. The first is a way to think, while the second only observes from outside. Narrative fiction as defined by Beledian is itself segmental, similar to the accounts of the survivors themselves, and as such is considered the only style appropriate not only to bring the segmented reality of the survivors together but also to “release it in a form and to expound.”