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

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Ned Beauman's Madness Is Better Than Defeat brings jungle fever to a story of cinema

The author's lustrous and smart fourth novel never quite coalesces into purposeful significance.

“We were in the jungle… There were too many of us. We had access to too much money, too much equipment. And little by little, we went insane.” That’s Francis Ford Coppola describing the filming of Apocalypse Now, but it’s also a fair summary – give or take a few hundred pages of CIA machinations, mega-corp skulduggery and hallucinogenic-fungus consumption – of the plot of Ned Beauman’s fourth novel, a teeming shaggy-dog comedy of megalomania and obsession in which nothing and everything seems to be going on at once.

The setting is the Honduran jungle in the late 1930s. Under the command of a visionary director, a Hollywood company sets out to make a film (called Hearts in Darkness, ho, ho) on location at a freshly discovered Mayan temple. When they arrive, they find the temple already half-dismantled by a team of New Yorkers in the service of a reclusive billionaire. The Angelenos scuttle up the steps of the hemi-ziggurat; the New Yorkers pitch camp at the bottom. Decades pass and the two sides, lost to the outside world, evolve a demented micro-civilisation.

Or is that the setting? The setting is also 1930s California, where a studio magnate creeps silently through a mansion. The setting is prewar New York, where a playboy is kidnapped by goons at an octopus-wrestling match. The setting is Virginia in 1959, where a CIA operative called Zonulet sifts through a warehouse packed with innumerable spools of film. The setting is a hospital in Maryland, in which Zonulet may be imagining the events of the book after inhaling a deliriant hallucinogen. The setting is Borges’s Aleph, or Leibniz’s monad: that mystical point in the universe “from which all other points are visible”.

As the narrative moves forward and Beauman gleefully particle-collides his various fascinations – postmodern paranoia, Hollywood screwball comedy, occult mysteries, spy fiction and the real-life on-set horrors of Werner Herzog’s Fitzcarraldo and the 1930s film serial The New Adventures of Tarzan – such interpretations flicker in and out of probability like quantum states.

Beauman is a sparkling writer, and his book bustles with diverting micro-narratives. There’s a murderous fugitive Nazi who persuades the camp that he’s part of the “German-American Alliance” that won the war, a mousy anthropologist who becomes a leader of men, a newspaperman who gets a Murdoch-style stranglehold on the temple’s occupants, and many more.

But the underlying order is symbolic. The director of Hearts in Darkness, the sprawling meta-movie at the centre of the novel, argues that all good cinema follows a simple rule: its narrative intensifies in five or six escalating steps before “giving way to a thrilling interval of weightlessness or flight, then returning to the status quo”. Represented as a diagram, this trajectory resembles a side view of half a ziggurat, which can also be seen as a diagram of a succession of people following in each other’s footsteps. For example, a novelist writing about someone making a film of a doomed expedition into the jungle. Madness begets madness in this novel, almost as if some conspiracy or occult order were being worked out.

Is any of this familiar? Narrative as geometry, with diagrams. Chipper 1930s banter. Funny but significant names (Poyais O’Donnell, which references a 19th-century con trick; Zonulet, which means “little zone”). Nazis. Contagious insanity. An octopus. An airship. A nightmare conspiracy that may just be a druggy hallucination. A few years ago, Beauman told an interviewer that the work of Thomas Pynchon has had “no impact on British fiction, really, apart from perhaps on me and Tom McCarthy”, but this book isn’t so much influenced by Pynchon as colonised by his work. In chapter after chapter, one can feel the shadow of Gravity’s Rainbow sweeping across the text like the spaceship in Independence Day.

Perhaps there’s a point here. Beauman recapitulates Pynchon as Hearts in Darkness recapitulates Heart of Darkness, and so the shape of the half-ziggurat is redrawn. But when a writer steers this close to his models, comparisons are inevitable, and Beauman’s writing, lustrous and smart as it invariably is, lacks much of the moral and emotional seriousness – the fear, the loss, the sorrow, the threat – that acts as a counterweight to Pynchon’s comic and intellectual games. The result is a novel of great intelligence and humour, cleverly structured and brimming with tricks, that never quite coalesces into purposeful significance. It’s a tremendous rainbow, but I’d have welcomed a bit more gravity. 

Madness Is Better Than Defeat
Ned Beauman
Sceptre, 416pp, £16.99

This article first appeared in the 17 August 2017 issue of the New Statesman, Trump goes nuclear