By: Julian Huxley
September 26, 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.


That was how it all started. Perhaps the best way of giving some idea of how it had developed will be for me to tell my own impressions when Hascombe took me round his laboratories. One whole quarter of the town was devoted entirely to religion — it struck me as excessive, but Hascombe reminded me that Tibet spends one-fifth of its revenues on melted butter to burn before its shrines. Facing the main square was the chief temple, built impressively enough of solid mud. On either side were the apartments where dwelt the servants of the gods and administrators of the sacred rites. Behind were Hascombe’s laboratories, some built of mud, others, under his later guidance, of wood. They were guarded night and day by patrols of giants, and were arranged in a series of quadrangles. Within one quadrangle was a pool which served as an aquarium; in another, aviaries and great hen houses; in yet another, cages with various animals; in the fourth a little botanic garden. Behind were stables with dozens of cattle and sheep, and a sort of experimental ward for human beings.

He took me into the nearest of the buildings. “This,” he said, “is known to the people as the Factory (it is difficult to give the exact sense of the word, but it literally means producing-place), the Factory of Kingship or Majesty, and the Well-spring of Ancestral Immortality.” I looked round, and saw platoons of buxom and shining African women, becomingly but unusually dressed in tight-fitting dresses and caps, and wearing rubber gloves. Microscopes were much in evidence, also various receptacles from which steam was emerging. The back of the room was screened off by a wooden screen in which were a series of glass doors; and these doors opened into partitions, each labeled with a name in that unknown tongue, and each containing a number of objects like the one I had seen taken out of the basket by the giant before we were captured. Pipes surrounded this chamber, and appeared to be distributing heat from a fire in one corner.

“Factory of Majesty!” I exclaimed. “Wellspring of Immortality! What the dickens do you mean?”

“If you prefer a more prosaic name,” said Hascombe, “I should call this the Institute of Religious Tissue Culture.” My mind went back to a day in 1918 when I had been taken by a biological friend in New York to see the famous Rockefeller Institute; and at the word tissue culture I saw again before me Dr. Alexis Carrel and troops of white-garbed American girls making cultures, sterilizing, microscopizing, incubating and the rest of it. The Hascombe Institute was, it is true, not so well equipped, but it had an even larger, if differently colored, personnel.

Hascombe began his explanations. “As you probably know, Frazer’s ‘Golden Bough’* introduced us to the idea of a sacred priest-king, and showed how fundamental it was in primitive societies. The welfare of the tribe is regarded as inextricably bound up with that of the King, and extraordinary precautions are taken to preserve him from harm. In this kingdom, in the old days, the King was hardly allowed to set his foot to the ground in case he should lose divinity; his cut hair and nail-parings were entrusted to one of the most important officials of state, whose duty it was to bury them secretly, in case some enemy should compass the King’s illness or death by using them in black magic rites. If anyone of base blood trod on the King’s shadow, he paid the penalty with his life. Each year a slave was made mock-king for a week, allowed to enjoy all the King’s privileges and was decapitated at the close of his brief glory; and by this means it was supposed that the illnesses and misfortunes that might befall the King were vicariously got rid of.

“I first of all rigged up my apparatus, and with the aid of Aggers, succeeded in getting good cultures, first of chick tissues and later, by the aid of embryo-extract, of various and adult mammalian tissues. I then went to Bugala, and told him that I could increase the safety, if not of the King as an individual, at least of the life which was in him, and that I presumed that this would be equally satisfactory from a theological point of view. I pointed out that if he chose to be made guardian of the King’s subsidiary lives, he would be in a much more important position than the chamberlain or the burier of the sacred nail-parings, and might make the post the most influential in the realm.

“Eventually I was allowed (under threats of death if anything untoward occurred) to remove small portions of His Majesty’s subeutaneous connective tissue under a local anesthetic. In the presence of the assembled nobility I put fragments of this into culture medium, and showed it to them under the microscope. The cultures were then put away in the incubator, under a guard — relieved every eight hours — of half a dozen warriors. After three days, to my joy they had all taken and showed abundant growth. I could see that the Council was impressed, and reeled off a magnificent speech, pointing out that this growth constituted an actual increase in the quantity of the divine principle inherent in royalty; and what was more, that I could increase it indefinitely. With that I cut each of my cultures into eight, and sub-cultured all the pieces. They were again put under guard, and again examined after three days. Not all of them had taken this time, and there were some murmurings and angry looks, on the ground that I had killed some of the King; but I pointed out that the King was still the King, that his little wound had completely healed, and that any successful cultures represented so much extra sacredness and protection to the state. I must say that they were very reasonable, and had good theological acumen, for they at once took the hint.

“I pointed out to Bugala, and he persuaded the rest without much difficulty, that they could now disregard some of the older implications of the doctrines of kingship. The most important new idea which I was able to introduce was mass production. Our aim was to multiply the King’s tissues indefinitely, to ensure that some of their protecting power should reside everywhere in the country. Thus by concentrating upon quantity, we could afford to remove some of the restrictions upon the King’s mode of life. This was of course agreeable to the King; and also to Bugala, who saw himself wielding undreamt-of power. One might have supposed that such an innovation would have met with great resistance simply on account of its being an innovation; but I must admit that these people compared very favorably with the average business man in their lack of prejudice.

“Having thus settled the principle, I had many debates with Bugala as to the best methods for enlisting the mass of the population in our scheme. What an opportunity for scientific advertising! But, unfortunately, the population could not read. However, war propaganda worked very well in more or less illiterate countries — why not here?”

* A very elaborate treatise on a division of Roman mythology, especially on the cult of Diana. [Is this footnote in the original version of the story?]


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.