[2] The plot-line centers around an Orpheus-like journey[3] of the protagonist LG who joins his deceased companion in the grave and is subsequently led by her to a liminal[4] realm ahead of the imminent Resurrection Day.

The work has been categorized by critics to belong to both the Modernist and the Post-Modernist[5] tradition, while at the same time bearing strong affinities to a variety of canonical texts, among others Homer, Dante, Kafka, Joyce[6] and Beckett.

The work opens with a first-person account of the narrator of Z213: Exit, who recounts his arrival at a derelict train station named Nichtovo[7] in search of a place where he has been told, an improvised performance is being staged by, what appears to be, a band of social outcasts.

[8] A group of four women in the role of a Chorus and three other protagonists (LG, NCTV, Narrator) are making their final preparations in front of a dilapidated car among machine parts and the noise of a generator.

Meanwhile, the Chorus is making preparations in anticipation of the yearly visit of their deceased kin, and LG and NCTV eventually join them after having broken off from a crowd of revenants aroused on the occasion of the Soul Saturday.

[1] The book concludes with the epilogue of the on-stage(internal) Narrator recounting the process by which a mob gathered in a cemetery unearths two bodies, ritually "killing" the female by driving a stake in her chest, in a manner akin to handling vampires[7] in the Slavonic tradition.

[10] Verse soliloquies, elements of staging and ritual as well as choral incantations and simple descriptions are combined to create a polyvalent text approximating both poetry and drama.

[11] The makeshift stage as well as the presence of actors give the text its dramatic character, while action and setting, filtered through a spectator's perspective, bring to prominence the dimension of storytelling.

Self-reflexive theatricality achieved through a clear-cut presentation of the division of spectators, actors, and director[12] and accounted for by the unifying voice of an external narrator leads to the work's classification as a piece of metatheatre.

Further, and due to a constellation of elements including broken narrative, fragmented characters, and illusory/imagistic setting, conveyed in the form of a personal experience of an audience member, the work has been categorized as a distinctively postmodern play.

[6] Language is sparse and fragmentary, leaving enough loopholes to be completed by the reader[17] and making no explicit mention of its vampire-related theme in order to reveal its storyline in a gradual and minimalist manner.

An earlier version of the text, similar in subject matter and structure but significantly different in content and style was published in 2001 in Greek and German[24] and in 2005 in English under the title Nyctivoe.

[25] The term Nyctivoe, a rare ancient Greek adjective, appears in an incantation to the goddess of the moon[26] in Magical Papyri, a syncretic compilation of texts from the Hellenistic Period focusing on sorcery and folk religion.