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

Show Hide image

Women on the edge: new films Jackie and Christine are character studies of haunted women

With their claustrophobic close-ups and desolate wide shots, both films are stunning portraits of life on the brink.

Jacqueline Kennedy and Christine Chubbuck may not have had much in common in real life – the former briefly the US first lady, the latter a put-upon television news reporter in the early 1970s in Sarasota, Florida – but two new films named after them are cut resolutely from the same cloth. Jackie and Christine are character studies of haunted women in which the claustrophobic close-up and the desolate wide shot are the predominant forms of address.

Both films hinge on fatal gunshots to the head and both seek to express cinematically a state of mind that is internal: grief and loss in Jackie, which is set mainly in the hours and days after the assassination of President John F Kennedy; depression and paranoia in Christine. In this area, they rely heavily not only on hypnotically controlled performances from their lead actors but on music that describes the psychological contours of distress.

Even before we see anything in Jackie, we hear plunging chords like a string section falling down a lift shaft. This is the unmistakable work of the abrasive art rocker Mica Levi. Her score in Jackie closes in on the ears just as the tight compositions by the cinematographer Stéphane Fontaine exclude the majority of the outside world. The Chilean director Pablo Larraín knows a thing or two about sustaining intensity, as viewers of his earlier work, including his Pinochet-era trilogy (Tony Manero, Post Mortem and No), will attest. Though this is his first English-language film, there is no hint of any softening. The picture will frustrate anyone hoping for a panoramic historical drama, with Larraín and the screenwriter Noah Oppenheim irising intently in on Jackie, played with brittle calm by Natalie Portman, and finding the nation’s woes reflected in her face.

Bit-players come and go as the film jumbles up the past and present, the personal and political. A journalist (Billy Crudup), nameless but based on Theodore White, arrives to interview the widow. Her social secretary, Nancy Tuckerman (Greta Gerwig), urges her on with cheerleading smiles during the shooting of a stiff promotional film intended to present her warmly to the public. Her brother-in-law Bobby (Peter Sarsgaard) hovers anxiously nearby as she negotiates the chasm between private grief and public composure. For all the bustle around her, the film insists on Jackie’s aloneness and Portman gives a performance in which there is as much tantalisingly concealed as fearlessly exposed.

A different sort of unravelling occurs in Christine. Antonio Campos’s film begins by showing Christine Chubbuck (Rebecca Hall) seated next to a large box marked “fragile” as she interviews on camera an empty chair in which she imagines Richard Nixon to be sitting. She asks of the invisible president: “Is it paranoia if everyone is indeed coming after you?” It’s a good question and one that she doesn’t have the self-awareness to ask herself. Pressured by her editor to chase juicy stories, she goes to sleep each night with a police scanner blaring in her ears. She pleads with a local cop for stories about the darker side of Sarasota, scarcely comprehending that the real darkness lies primarily within her.

For all the shots of TV monitors displaying multiple images of Christine in this beige 1970s hell, the film doesn’t blame the sensationalist nature of the media for her fractured state. Nor does it attribute her downfall entirely to the era’s sexism. Yet both of those things exacerbated problems that Chubbuck already had. She is rigid and off-putting, all severe straight lines, from her haircut and eyebrows to the crossed arms and tight, unsmiling lips that make it difficult for anyone to get close to her. That the film does break through is down to Hall, who illuminates the pain that Christine can’t express, and to the score by Danny Bensi and Saunder Jurriaans. It’s perky enough on the surface but there are cellos sawing away sadly underneath. If you listen hard enough, they’re crying: “Help.” 

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 19 January 2017 issue of the New Statesman, The Trump era