There are many ways of reading a novel. Generally, the major components of the novel (characters, plot, etc.) are the focus of criticism. The linguistic resources that make up these major components of the novel are not usually analyzed. A novel, like a poem, is constructed from words. It also sets the boundaries of chapters with words, paragraphs, and dialogues. Its subject, character, and different themes are formed in these stages. The political or social interpretations of the novel have their importance. Still, the analysis of the composition of the novel can illuminate the artistic resources as well as open the knots of the different elements of the novelistic world and their interrelationships. If it has a conscious complexity, it becomes necessary to make its formation the subject of analysis. The constructions, artistic tools, and techniques of Ghulam Bagh are analyzed here to have a look at its novelistic world. The focus is on the details and their presentation. It is argued that Mirza Ather Baig created a fictional world that challenges the prevalent epistemological world by introducing new words and modes of representation.