A Marvel comic shows the true face of Britain

Faiza Hussein is the new Captain Britain.

Given the events in Woolwich yesterday – and here I'm speaking less of the horrific murder, and more of the ugly response which followed – it's no surprise that this page, from Avengers Assumble #15AU, has been making the rounds online. In it, Captain Britain, a Marvel hero from the 1970s, relinquishes his title to Dr Faiza Hussain, an Islamic woman of Pakistani heritage. It is all that is right about modern Britain, from English writer Al Ewing (art by Butch Guice, inked by Rick Magyar and Tom Palmer, and coloured by Frank D'Armata):

Hussain was originally introduced to the Marvel universe in 2008 by writer Paul Cornell and artist Leonard Kirk. Cornell, who is most famous for his work on Doctor Who, writing the episodes Father's Day, Human Nature and Family of Blood, was brought in to revamp Captain Britain, who had been languishing in obscurity for over a decade. In the process, he created a rich supporting cast for the dated hero, including Faiza, the viewpoint character for the series. (It also features a shapeshifting alien who thinks he's John Lennon, it's all-round good stuff.)

Speaking about her at the time, Cornell – who is himself a Christian, and is married to a vicar – said:

She's very into mainstream British young woman culture. She's on Facebook, she reads celebrity gossip magazines, but her biggest fan rush is for British superheroes, who also pop up in those magazines. She knows about them all, she had Knights of Pendragon wallpaper when she was a kid (Or insert apt reference for Marvel time)…

I have two aims here: to make her a real person and not someone who has to represent the entire British Muslim world all the time – I think superheroes are too prone to being standard bearers for whole communities – and to make her an everyday religious person who you won't hear anything religious from until it would naturally come up.

Although a critical success, the series was cancelled due to low sales after a little over a year. Captain Britain was used in an Avengers series, but there's been no room for Faiza until now.

Writing on Tumblr, where the issue has taken off since the Woolwich attack, Al Ewing adds:

 

This was a thing I thought up in the shower, just a thing that seemed really obvious. Captain Britain knows he’s going to die, who does he pass the torch to? Faiza. Duh. Honestly, who else would it be? In any circumstances?
 
She’s NHS. Come on.

Sadly, due to the contortions of comics continuity, the issue in which Faiza accepts the mantle of Captain Britain actually exists in an alternate timeline the effects of which have already been undone in the wider series. But don't let that stop you from reading the whole comic; the story of a Muslim woman of Pakistani heritage becoming the living embodiment of all that is British may not be a story which "matters" in the comic's world, but it's certainly one which matters in ours.

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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Track changes: a history of the railways

Simon Bradley's new book takes us from the train carriage to station signposts, walking the line between nostalgic reminiscence and hard evidence.

In his classic travel book The Great Railway Bazaar, Paul Theroux wrote that “the trains in any country contain the essential paraphernalia of the culture”. Of nowhere is this truer than the first railway nation. So much of Britain is what Simon Bradley calls “railway-haunted territory” – its landscape either directly transformed by the bridges, tunnels, cuttings and marshalling yards or indirectly touched by the social revolution wrought by the train. The train compartment is a micro-society that has brought the classes together to gawp at and dissect each other. “I can watch a dirty middle-aged tradesman in a railway-carriage for hours,” wrote Rupert Brooke in 1910, “and love every dirty greasy sulky wrinkle in his weak chin and every button on his spotted unclean waistcoat.” From the romance of steam to the curled corners of the British Rail sandwich, the railways have stirred the national imagination. So a single-volume social history of the scale and ambition of Bradley’s feels overdue.

The book is arranged spatially rather than chronologically. It begins in the railway carriage, the “mobile enclosure in which millions of people enjoyed or endured billions of hours”, and then takes us along the permanent way and its hinterland, ending on the platforms and concourses of the great railway stations. The non-linearity makes for some slightly awkward transitions (“so now we must move out of the compartment for a time . . .”), but it does allow Bradley to show how, on the railways, the present is always colliding with the past. Victorian carriages, divided into single compartments, survived on electrified commuter lines into the 1960s; W H Auden’s Night Mail was still “crossing the border” into the 1980s; the slam-door carriages and wide-window vistas of the InterCity 125 add a 1970s retro-chic to the present fleet.

Bradley was a schoolboy trainspotter, and he retains something of the spotter’s meticulousness and completism (or perhaps he has acquired this as a joint editor of the Pevsner Architectural Guides). For arcane knowledge, alight here: we learn about the varieties of upholstered leather used to cover seats, the different types of lavatory (early prototypes exposed the user to a
hurricane-force draught from below), the many iterations of platform tickets and the minutiae of buffet-car menus. “A straw in the wind,” he writes drily of the slow decline of the Pullman trains, “was the abandonment of croutons with the soup course.”

While Bradley does not always succeed in separating the telling details from the mere details, his book is still generously stuffed with the former. He tells us how the steam that hisses so evocatively from the halted train in Edward Thomas’s poem “Adlestrop” was produced; how the diddly-dum, fourfold beat of a moving train comes from the way 20th-century track was welded together, unlike today’s continuously welded rails, which have done away with this lovely music for ever; and how the graffitied railway carriage of the 1970s owed less to a broken society than it did to the new technologies of aerosol paint and the marker pen.

Bradley’s book picks up full steam whenever he evokes the sensual experience of travelling by train in the days before it became like being on an airliner: “the sour smell of wet cigarette ash” on a rainy winter’s day, “the tobacco-tainted condensation on single-glazed carriage windows” and the “mysterious creaks, squeaks and groans” of the sleeper train, with its promise of magical translation, separated by unconsciousness, to another place.

It is harder to gauge Bradley’s politics: he does not have the crusading interest in political economy of that other great railway writer, Christian Wolmar. Skating over privatisation in a few pages, he passes up the chance to explore the railways as a case study in the tussle between free-market economics and subsidised, fixed-capital industry. Yet even as a boy he “sensed the integrity and purpose of the railway”, and he seems kindly disposed to the last days of British Rail and resistant to the mythology of national decline with which they became indelibly linked. He retains a particular affection for the high-speed trains of the ­pre-Thatcherite era, their aesthetic appeal and technical excellence forged out of an ideal marriage of state intervention and commercial nous.

Like most of us, Bradley is not enamoured of the Virgin Pendolino, with its parsimonious window-to-wall ratio and its failure to accommodate the inexorable rise of the rigid-wheeled suitcase. And he wryly notes the monetising of the everyday which leaves even the space on station signs up for sale. Clapham Junction is now “Home of James Pendleton Estate Agents, a passion for excellence” and Cambridge “Home of Anglia Ruskin University” – although I’ve always assumed that this is not “unintentionally comic”, as he says, but a rather clever joke.

But Bradley is too even-tempered to give way to bloviating about the good old days. He walks a nice line between nostalgic reminiscence and hard evidence. He is sanguine, for instance, about the conversion of stations from messy and multifunctional social spaces, with clattering trolleys, porters and waiting rooms, into a generic retail opportunity. As he points out, the railways were always a commercial proposition and never set out to be romantic or atmospheric – and besides, “cappuccino and croissants smell better than diesel fumes”.

The Railways: Nation, Network and People by Simon Bradley is published by Profile Books (645pp, £25)

This article first appeared in the 05 February 2015 issue of the New Statesman, Putin's war