In Was, Geoff Ryman explores the complexities of human desire, childhood, and the impact of cultural symbols. He begins with an intriguing premise: “A country is like a child,” using the idea as a foundation for his novel. The story delves into the depths of what we, both as individuals and as a society, long for—what lies over the rainbow. Instead of focusing on the idealized image of Oz, Ryman introduces the concept of “Was,” a paradoxical place where meanings unfold over time.
The novel is centered around childhood, not in the way we typically view it, but as a period of both powerlessness and emotional exposure. Ryman uses The Wizard of Oz as a metaphor for childhood’s vivid beauty, hope, and love, which, over time, are often crushed by external forces. The narrative is a poignant exploration of ruined lives, anger, and sorrow, showing how negative legacies get passed down to new generations.
The book’s narrative structure spans three storylines: the real Dorothy, Judy Garland (born Frances Gumm), and Jonathan, a present-day horror movie actor dying of AIDS. Dorothy, orphaned and mistreated by her aunt and uncle, experiences trauma, which forces her to retreat into her mind. Judy Garland’s journey, much like Dorothy’s, is marked by the struggles of a young girl pushed into a world of adult responsibilities and emotional turmoil. Jonathan, an actor with a painful past, represents another form of childhood vulnerability—sensitive and emotionally astute, but unable to express his anger without severe consequences.
Ryman masterfully captures the emotional vulnerability of childhood. Dorothy and Judy are both trapped in their roles, expected to maintain an innocence and purity that clashes with the darker truths of their lives. Jonathan, a highly sensitive child, grapples with emotional repression, which manifests in his role as a sadomasochist in a horror film series. His journey is marked by a struggle to reconnect with his suppressed emotions.
Ryman skillfully ties the personal experiences of his characters to larger societal and historical contexts, examining hypocrisy and the emotional consequences of denial. The book also touches on the trauma of the LGBTQ community, especially through the lens of AIDS, illustrating the harsh realities that come with the suppression of self-identity.
Ultimately, Was is about the intersection of fantasy and reality. It suggests that in denying painful truths, we often retreat into idealized fantasies like Oz. Yet Ryman argues that true redemption comes when we confront the harsh realities of our past. Jonathan’s journey is one of self-realization, as he moves beyond his role as a horror character and discovers a deeper understanding of life.
Ryman rejects surface-level storytelling, offering instead a rich, multifaceted narrative that goes beyond simple categorization. Was may be seen as both postmodern and anti-postmodern, as it challenges conventional narratives and urges readers to look beyond the familiar stories of childhood and society to confront the raw truths hidden beneath.
The novel speaks for itself, illustrating Ryman’s belief that we, as a society, are all haunted by the emotional scars of our past. By awakening this pain, Ryman invites us to embark on a journey toward healing, love, and redemption. Was is a profound exploration of the human condition, offering a powerful, life-affirming message for those willing to face their own histories and embrace the possibility of transformation.