In this essay I explore the critical concept of "form as world." I apply my elaboration of this concept to the early to middle novels of Mordecai Richler. I relate his changing use of form to his changing themes, arguing that ultimately these form different worlds--world being the metaphysical fullness of any novel. I contend, too, that literary criticism ought to be an argument.
The novels discussed are: The Acrobats, Son Of A Smaller Hero, A Choice Of Enemies, The Apprenticeship Of Duddy Kravitz, The Incomparable Atuk, Cocksure and St Urbain's Horseman.