Literature is not a naturally given reality for Krikor Beledian, but material for cultivation. To focus on the release of the inner capacities for language, he takes the literary tradition as an experience of accumulated language, which must be appropriated in terms of the reoperation of literary genres and literary experiences. This action is a kind of self-creation—a formation of narrative identity. Beledian calls this phenomenon “palimpsest.” The successive phases of this repetitive action as well as the moral aspect of writing in a diaspora Armenian context are discussed in this essay. The last chapter of Mantras—“A Depopulated Language”—is performed as an imagined dialog between the voices of the inheritor and the unburied dead. The common voice of the community of the unburied dead mourns the loss of its ancestors’ land. The inheritor’s voice refuses his parents’ lifestyle; he longs for the foundation of a new myth. He tries not to overcome the loss, but to arrange a methodology to leave with it. A symbolic action of disruption from the so-called “parental alliance” is taking place here. Beledian represents this piece as a scene of “mourning” by using classical forms of lamentation and tragedy, where two voices agree to fulfil the previous lifestyle. This action allows two voices to be rid of mourning and dream of each other. This phase of liberation enables the inheritor’s voice to fulfil his fantasy for a new lifestyle.In his fiction, Beledian continues to appropriate new ways of articulation for loss. The passion for storytelling motivates the narrator to be aware of the stories more specific to community life. Fragments of everyday life, sketches of daily routines, oral stories are all working materials he applies to construct narrative identity. The narrator passionately works to achieve the secret of the operational language. He is very sensitive to all types of speech, trying not to miss any detail. The narrator seems to lose the normal course of life; he transposes fragments from the past in order to obtain normality. In this way, the fictional picture of the past is reconstructed on the one hand, and the formation of a new identity reaches its limits on the other hand. Fiction, as Jean-Paul Ricœur considers, becomes a form of re-memorization. The essay also discusses the moral aspect of writing. Based on Khachig Tölölyan’s concept of “textual nation,” in which the biographies of significant figures are considered as important constituents of conventional narratives, I discuss the reasons why the life of ordinary people needs to be represented. In their daily hustle, they were not able to fulfil their dreams and desires. They trusted in the future and imagined different possibilities. Writing is one of those possibilities. In the course of writing, the whole spectrum of experience comes into view. Thus, our responsibility for our life is expressed. Beledian’s fiction opens new possibilities for the diaspora Armenian cultural imagination.