By: Julian Huxley
September 4, 2022

Headline and illustration from the story’s 1927 appearance in Amazing Stories.

HiLoBooks is pleased to serialize “The Tissue-Culture King,” a 1926 short story by biologist Julian Huxley, for HILOBROW’s readers. Sometimes subtitled “A Parable of Modern Science,” it is an allegory of science’s subordination to capitalist imperatives. Fun fact: Here is where you will find one of the earliest mentions of the anti-telepathic properties of tin-foil hats.

ALL INSTALLMENTS: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9.


We had been for three days engaged in crossing a swamp. At last we were out on dry ground, winding up a gentle slope. Near the top the brush grew thicker. The look of a rampart grew as we approached; it had the air of having been deliberately planted by men. We did not wish to have to hack our way through the spiky barricade, so turned to the right along the front of the green wall. After three or four hundred yards we came on a clearing which led into the bush, narrowing down to what seemed a regular passage or trackway. This made us a little suspicious. However, I thought we had better make all the progress we could, and so ordered the caravan to turn into the opening, myself taking second place behind the guide.

Suddenly the tracker stopped with a guttural exclamation. I looked, and there was one of the great African toads, hopping with a certain ponderosity across the path. But it had a second head growing upwards from its shoulders! I had never seen anything like this before, and wanted to secure such a remarkable monstrosity for our collections; but as I moved forward, the creature took a couple of hops into the shelter of the prickly scrub.

We pushed on, and I became convinced that the gap we were following was artificial. After a little, a droning sound came to our ears, which we very soon set down as that of a human voice. The party was halted, and I crept forward with the guide. Peeping through the last screen of brush we looked down into a hollow and were immeasurably startled at what we saw there. The voice proceeded from an enormous Negro man at least eight feet high, the biggest man I had ever seen outside a circus. He was squatting, from time to time prostrating the forepart of his body, and reciting some prayer or incantation. The object of his devotion was before him on the ground; it was a small flat piece of glass held on a little carved ebony stand. By his side was a huge spear, together with a painted basket with a lid.

After a minute or so, the giant bowed down in silence, then took up the ebony-and-glass object and placed it in the basket. Then to my utter amazement he drew out a two-headed toad like the first I had seen, but in a cage of woven grass, placed it on the ground, and proceeded to more genuflection and ritual murmurings. As soon as this was over, the toad was replaced, and the squatting giant tranquilly regarded the landscape.

Beyond the hollow or dell lay an undulating country, with clumps of bush. A sound in the middle distance attracted attention; glimpses of color moved through the scrub; and a party of three or four dozen men were seen approaching, most of them as gigantic as our first acquaintance. All marched in order, armed with great spears, and wearing colored loin straps with a sort of sporran, it seemed, in front. They were preceded by an intelligent-looking Negro of ordinary stature armed with a club, and accompanied by two figures more remarkable than the giants. They were undersized, almost dwarfish, with huge heads, and enormously fat and brawny both in face and body. They wore bright yellow cloaks over their black shoulders.

At sight of them, our giant rose and stood stiffly by the side of his basket. The party approached and halted. Some order was given, a giant stepped out from the ranks towards ours, picked up the basket, handed it stiffly to the newcomer, and fell into place in the little company. We were clearly witnessing some regular routine of relieving guard, and I was racking my brains to think what the whole thing might signify — guards, giants, dwarfs, toads — when to my dismay I heard an exclamation at my shoulder.

It was one of those damned porters, a confounded fellow who always liked to show his independence. Bored with waiting, I suppose, he had self-importantly crept up to see what it was all about, and the sudden sight of the company of giants had been too much for his nerves. I made a signal to lie quiet, but it was too late. The exclamation had been heard; the leader gave a quick command, and the giants rushed up and out in two groups to surround us.

Violence and resistance were clearly out of the question. With my heart in my mouth, but with as much dignity as I could muster, I jumped up and threw out my empty hands, at the same time telling the tracker not to shoot. A dozen spears seemed towering over me, but none were launched; the leader ran up the slope and gave a command. Two giants came up and put my hands through their arms. The tracker and the porter were herded in front at the spear point. The other porters now discovered there was something amiss, and began to shout and run away, with half the spearmen after them. We three were gently but firmly marched down and across the hollow.

I understood nothing of the language, and called to my tracker to try his hand. It turned out that there was some dialect of which he had a little understanding, and we could learn nothing save the fact that we were being taken to some superior authority.

For two days we were marched through pleasant park-like country, with villages at intervals. Every now and then some new monstrosity in the shape of a dwarf or an incredibly fat woman or a two-headed animal would be visible, until I thought I had stumbled on the original source of supply of circus freaks.

The country at last began to slope gently down to a pleasant river valley; and presently we neared the capital. It turned out to be a really large town for Africa, its mud walls of strangely impressive architectural form, with their heavy, slabby buttresses, and giants standing guard upon them. Seeing us approach, they shouted, and a crowd poured out of the nearest Gate. My God, what a crowd! I was getting used to giants by this time, but here was a regular Barnum and Bailey show; more semidwarfs; others like them but more so — one could not tell whether the creatures were precociously mature children or horribly stunted adults; others portentously fat, with arms like sooty legs of mutton, and rolls and volutes of fat crisping out of their steatopygous posteriors; still others precociously senile and wizened, others hateful and imbecile in looks. Of course, there were plenty of ordinary Negroes too, but enough of the extraordinary to make one feel pretty queer. Soon after we got inside, I suddenly noted something else which appeared inexplicable — a telephone wire, with perfectly good insulators, running across from tree to tree. A telephone — in an unknown African town. I gave it up.


RADIUM AGE PROTO-SF: “Radium Age” is Josh Glenn’s name for the nascent sf genre’s c. 1900–1935 era, a period which saw the discovery of radioactivity, i.e., the revelation that matter itself is constantly in movement — a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. More info here.

SERIALIZED BY HILOBOOKS: Jack London’s The Scarlet Plague | Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”) | Arthur Conan Doyle’s The Poison Belt | H. Rider Haggard’s When the World Shook | Edward Shanks’ The People of the Ruins | William Hope Hodgson’s The Night Land | J.D. Beresford’s Goslings | E.V. Odle’s The Clockwork Man | Cicely Hamilton’s Theodore Savage | Muriel Jaeger’s The Man With Six Senses | Jack London’s “The Red One” | Philip Francis Nowlan’s Armageddon 2419 A.D. | Homer Eon Flint’s The Devolutionist | W.E.B. DuBois’s “The Comet” | Edgar Rice Burroughs’s The Moon Men | Charlotte Perkins Gilman’s Herland | Sax Rohmer’s “The Zayat Kiss” | Eimar O’Duffy’s King Goshawk and the Birds | Frances Hodgson Burnett’s The Lost Prince | Morley Roberts’s The Fugitives | Helen MacInnes’s The Unconquerable | Geoffrey Household’s Watcher in the Shadows | William Haggard’s The High Wire | Hammond Innes’s Air Bridge | James Branch Cabell’s Jurgen | John Buchan’s “No Man’s Land” | John Russell’s “The Fourth Man” | E.M. Forster’s “The Machine Stops” | John Buchan’s Huntingtower | Arthur Conan Doyle’s When the World Screamed | Victor Bridges’ A Rogue By Compulsion | Jack London’s The Iron Heel | H. De Vere Stacpoole’s The Man Who Lost Himself | P.G. Wodehouse’s Leave It to Psmith | Richard Connell’s “The Most Dangerous Game” | Houdini and Lovecraft’s “Imprisoned with the Pharaohs” | Arthur Conan Doyle’s “The Sussex Vampire” | Francis Stevens’s “Friend Island” | George C. Wallis’s “The Last Days of Earth” | Frank L. Pollock’s “Finis” | A. Merritt’s The Moon Pool | E. Nesbit’s “The Third Drug” | George Allan England’s “The Thing from — ‘Outside'” | Booth Tarkington’s “The Veiled Feminists of Atlantis” | H.G. Wells’s “The Land Ironclads” | J.D. Beresford’s The Hampdenshire Wonder | Valery Bryusov’s “The Republic of the Southern Cross” | Algernon Blackwood’s “A Victim of Higher Space” | A. Merritt’s “The People of the Pit” | Max Brand’s The Untamed | Julian Huxley’s “The Tissue-Culture King” | Clare Winger Harris’s “A Runaway World” | Francis Stevens’s “Thomas Dunbar” | George Gurdjieff’s “Beelzebub’s Tales” | Robert W. Chambers’s “The Harbor-Master” | Mary E. Wilkins Freeman’s “The Hall Bedroom” | Clare Winger Harris’s “The Fifth Dimension” | Francis Stevens’s “Behind the Curtain” | more to come.