The Compatibility Gene by Daniel M Davis: "I am very rare but my wife is rather common"

The scientist Daniel M Davis has told the story of genetic compatibility - and the rejection that is its opposite - with great insight and decades of research. It's a field that may yield significant treasures in the decades to come.

The Compatibility Gene
Daniel M Davis
Allen Lane, 256pp, £20

“I am very rare but my wife is rather common.” This is not a sentence that would normally endear an author to you, let alone make you feel a little sorry for him. The thing is, it’s not great being exotic. Should Daniel M Davis get seriously ill, his chances of finding a transplant match are very bad. When he tells you that his wife is not one in a million but one in 100,000, you should feel good for her. Davis is one in four million, according to the genetic tests that the couple underwent. That’s very bad news, transplant-wise.

This all comes down to what Davis terms the “compatibility genes”. They are the set of genes that determine the make-up of your immune system and make you who you are.

We worry about where we came from. There is not a human civilisation on the planet that does not pay attention to its ancestors in some way. TV genealogy shows have probably amplified this trait, encouraging us to treasure our roots (or despair at them) in ever larger measure. So it’s no wonder we don’t cope well with the idea of organ transplantation: it messes with everything.

A study carried out in Sweden demonstrates the problem. In interviews with patients who had received someone else’s kidney, almost all of the subjects said that they felt it was best not to know too much about the donor. For some irrational, inexplicable reason, we are psychologically sideswiped by the idea that someone else’s meat has been installed inside our own. Some patients even worried about worrying about it, expressing a fear that too much “brooding” over the donor could lead their bodies to reject the foreign tissue.

We now know, thanks to a half-century of scientific sleuthing, that this isn’t true. Rejection of foreign bodies results from the activities of the compatibility genes. Davis’s enlightening book tells the extraordinary story of that discovery. As well as dealing with foreign tissue, the compatibility genes seem to influence our selection of biologically beneficial partners. It turns out that we look for complementary immune systems that enhance the chance of our offspring’s survival. Get it wrong at your peril: the compatibility genes are, it seems, frequently to blame in miscarriages. The contributions frommother and father have to be a good complementary pairing for a pregnancy to be successful. If Davis’s wife had chosen a more “common” man, she might have found herself with someone whose genes were too similar to her own, with adverse effects on the couple’s fertility. As Davis puts it, “Differences in our immune-system genes can influence who gets born.”

Sadly, science has not yet given us ways to cope with these differences. The best you can do is try to find a partner who somehow smells right. Evolution’s finest innovation might be the nose: we use it to check whether someone else’s immune system is complementary to our own.

Evolution is not perfect, however: given that as many as one in three pregnancies ends in miscarriage, cleary the smell is too subtle. Either that or we are all washing too thoroughly (or not doing enough investigative snogging).

It is almost ironic that the scientists who laid the foundations of this kind of research also had coupling issues. The Nobel laureate biologist Peter Medawar’s work elucidating what causes the rejection of transplants was so intense that he told his wife that she had claim on his love but not his time (and that he would be fine with an open marriage). The Danish biologist and sadomasochism fan Niels Jerne had a string of affairs before his wife (who had her share of lovers) committed suicide; it was only later, suppressing his grief with a gruelling work schedule, that Jerne uncovered the protective powers of antibodies. The Austrian Karl Landsteiner discovered the vital distinctions we know as blood groups. He also lived with his mother until she died. When he married shortly after that, the new Mrs Landsteiner faced the nightly distraction of her mother-in-law’s death mask on the bedroom wall. To her credit, the couple did manage to have a child.

Many more scientists are threaded through the pages of Davis’s thoughtful book and they all share one thing: the grinding heartbreak that is the slow progress of scientific discovery. It’s a heartbreak that Davis knows well; he is a leading figure in this subject. Though the science behind what causes our body to recognise itself and reject foreign material is more than 60 years old, he tells us, the conclusions we can draw from it are still fairly limited. Nonetheless, The Compatibility Gene is a fascinating, expertly told story of a field that may yield significant treasures in the decades to come.

Michael Brooks is the New Statesman’s science columnist 

The science behind our bodies' rejection of foreign material is 60 years old, Davis writes, but the conclusions we can draw are still limited. Photograph: Getty Images.

Michael Brooks holds a PhD in quantum physics. He writes a weekly science column for the New Statesman, and his most recent book is At the Edge of Uncertainty: 11 Discoveries Taking Science by Surprise.

This article first appeared in the 02 September 2013 issue of the New Statesman, Syria: The west humiliated

Via David Moloney of the Great News For All Readers blog
Show Hide image

The dark, forgotten world of British girls’ comics is about to be resurrected

The UK’s most surreal and innovative comic strips have long been gathering dust. As a publisher acquires the archives, they could be heading for a renaissance.

Comics now exert a massive influence on popular culture, yet those that do are almost exclusively drawn from two American publishers, and mostly exist within one genre: Superheroics.

Comics, though, are a medium, not a genre, and, in acquiring this prominence, American superhero comics have obscured almost everything else done in the medium both in the US and elsewhere.

British comics, from publishers like DC Thomson, IPC and Fleetway, rarely involved superheroes, and were traditionally anthologies, with multiple episodic serials running at all times. They were divided by their publishers into three categories, humour comics aimed at younger children (The Beano and The Dandy remain well-known, although only the former still exists), comics aimed at boys (largely war comics, such as Battle, which also incorporated sports stories and science fiction), and titles specifically targeted at older girls.


All scans courtesy of David Moloney of the Great News For All Readers blog​.

The girls’ titles, particularly, have largely disappeared from common memory, acknowledged only by a handful of enthusiasts. This is odd, as at their peak, they routinely massively outsold the boys’ titles they shared shelf space with.

Bunty (1958-2001) is one of the few girls’ titles to retain any cache, but it had many stablemates and competitors. Some were devoted to straightforward romantic series, and strips with “improving moral messages” (eg. the girl who gets her dream job after helping a blind man out rather than be on time to her interview; it turns out to have been a test).

They also ran features that reflected then contemporary assumptions as to what all girls would/must like (Bunty often had a “cut-out wardrobe” clothes section as its back page), but there was also more variety in tone and content than you might expect.

The Seventies saw the creation of Tammy (1971-84), Jinty (1974-81) and Misty (1978-80). Tammy’s stories were often bleak, and many were variations on the darkest aspects of Cinderella (“Alison All Alone” saw a contemporary girl locked up by step-parents for reasons that are never really articulated).

Jinty ran some relatively normal contemporary school stories, eschewing a jolly hockey sticks angle and pushing something closer to kitchen sink drama (eg. “Pam of Pond Hill”, a Grange Hill-like series set in a comprehensive). But, as time went on, it became darker and odder, running series like John Wagner’s “The Blind Ballerina” (which has been described by acclaimed comic book writer Alan Moore as “cynical and possibly actually evil”).

The lack of credits in most comics in this era meant the audience would’ve been largely unaware that their favourite stories, with their almost exclusively female casts were, like “The Blind Ballerina”, largely written and drawn by men.

Misty creator Pat Mills’ recollection is that while the publishers of the time had many women on staff, most of them saw magazines for older girls and women as the more worthwhile publications than comics.


Women who left a significant mark on these male-dominated titles include Jinty editor Mavis Miller, writer Benita Brown (later an author of historical family sagas set in the northeast which could rival Catherine Cookson when it came to being borrowed from public libraries), and Shirley Bellwood whose consistently magnificent covers for Misty – reputedly largely portraits of her own younger self – were responsible for establishing its aesthetic.

Pat Mills intended that Misty would do to, and for, girls’ comics what his own 2000AD had done with boys’ comics. Whereas 2000AD was, and indeed is, the ultimate science fiction anthology book, Misty would be – as its logo of a bat silhouetted against the moon suggested – unapologetically a horror comic.

Typical Misty serials include “The Loving Cup” (a cursed goblet vessel causes women who drink from it to be possessed by Lucrezia Borgia), and “Winner Loses All” (in which a girl sells her soul to Satan to both save her alcoholic father and become a champion showjumper – the horse is cursed, of course).

Then there’s “Screaming Point”, about a hangman who dabbles in diabolic resurrection of his own clients, or Misty’s longest running single story, “Paint it Black”, in which cursed paints cause a girl quite a lot of trouble. More sci-fi than supernatural – but still within the horror remit – was “The Sentinels”, a serial about two tower blocks in contemporary Britain, which simultaneously exist in the real 1970s and in an alternative timeline where the country has been occupied by the Nazis since the 1940s.

If you’re now wondering why these amazing-sounding stories are no longer available to read, here’s the good news: you may very soon be able to. In August, Rebellion, the owners of 2000AD, bought a vast archive of old classic British comics from Egmont UK (the Fleetway and IPC Youth Group archives), which includes all the above material and more.

Rebellion, initially a computer games company known for the Sniper Elite series, bought 2000AD from Fleetway in, well, 2000AD. Fleetway was also the original publisher of Misty, and so on, although they’ve passed through other hands since.

This is oddly reminiscent of the “hatch, match and despatch” process, where a publisher would “merge” a cancelled comic into another they owned, incorporating the most popular characters and strips into the new composite title. This was the process whereby Tammy absorbed both Misty and Jinty as their sales declined. Mills has suggested that, had he had more direct control, Misty would, like 2000AD, still be running today.

Rebellion has already published a single slim volume of two Misty serials (containing the very odd, and very Seventies, reincarnation drama “Moonchild”, and the genuinely horrifying “The Four Faces of Eve”) and more are planned, but may depend on sales of this volume. If I could take this opportunity to call for a public vote in favour of reprinting Tammy’s startling “Karen, the Loneliest Girl in the World” here, I’d be grateful.


Reprints though, should really only be the beginning. With Rebellion having access to the Egmont archive and its intellectual property, could we see films or television series of some of Misty or Jinty’s best series?

With their female leads, strong emotional content, science fiction and horror aspects and political and social angles, it’s hard to deny that much of the content of Misty or a Jinty has a similar appeal to the kind YA books that become billion-dollar film franchises these days, in the exact same way American boys’ comics do.

It is startlingly easy to imagine opening an issue of Misty and finding a forgotten 1970s strip version of Twilight, or seeing The Hunger Games on the centre pages of Jinty. The main difference would be that they’d both be set in Slough.

With a bit of luck, some of the most peculiar, imaginative and challenging work in British comics could soon be raised from the dead in a new century and in a different form entirely, and then go on to dominate the world. Which, rather appropriately, sounds like something out of Misty.