THE TISSUE-CULTURE KING (5)
October 1, 2022
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.
Hascombe organized a series of public lectures in the capital, at which he demonstrated his regal tissues to the multitude, who were bidden to the place by royal heralds. An impressive platform group was always supplied from the ranks of the nobles. The lecturer explained how important it was for the community to become possessed of greater and greater stores of the sacred tissues. Unfortunately, the preparation was laborious and expensive, and it behooved them all to lend a hand. It had accordingly been arranged that to everyone subscribing a cow or buffalo, or its equivalent — three goats, pigs or sheep — a portion of the royal anatomy should be given, handsomely mounted in an ebony holder. Sub-culturing would be done at certain hours and days, and it would be obligatory to send the cultures for renewal. If through any negligence the tissue died, no renewal would be made. The subscription entitled the receiver to sub-culturing rights for a year, but was of course renewable. By this means not only would the totality of the King be much increased, to the benefit of all, but each cultureholder would possess an actual part of His Majesty, and would have the infinite joy and privilege of aiding by his own efforts the multiplication of divinity.
Then they could also serve their country by dedicating a daughter to the state. These young women would be housed and fed by the state, and taught the technique of the sacred culture. Candidates would be selected according to general fitness, but would of course, in addition, be required to attain distinction in an examination on the principles of religion. They would be appointed for a probationary period of six months. After this they would receive a permanent status, with the title of Sisters of the Sacred Tissue. From this, with age, experience and merit, they could expect promotion to the rank of mothers, grandmothers and great-grandmothers, and grand ancestresses of the same. The merit and benefit they would receive from their close contact with the source of all benefits would overflow on to their families.
The scheme worked like wildfire. Pigs, goats, cattle, buffalos and Negro maidens poured in. Next year the scheme was extended to the whole country, a peripatetic laboratory making the rounds weekly.
By the close of the third year there was hardly a family in the country which did not possess at least one sacred culture. To be without one would have been like being without one’s trousers — or at least without one’s hat — on Fifth Avenue. Thus did Bugala effect a reformation in the national religion, enthrone himself as the most important personage in the country, and entrench applied science and Hascombe firmly in the organization of the state.
Encouraged by his success, Hascombe soon set out to capture the ancestry-worship branch of the religion as well. A public proclamation was made pointing out how much more satisfactory it would be if worship could be made not merely to the charred bones of one’s forbears, but to bits of them still actually living and growing. All who were desirous of profiting by the enterprise of Bugala’s Department of State should therefore bring their older relatives to the laboratory at certain specified hours, and fragments would be painlessly extracted for culture.
This, too, proved very attractive to the average citizen. Occasionally, it is true, grandfathers or aged mothers arrived in a state of indignation and protest. However, this did not matter, since, according to the law, once children were twenty-five years of age, they were not only assigned the duty of worshipping their ancestors, alive or dead, but were also given complete control over them, in order that all rites might be duly performed to the greater safety of the commonweal. Further, the ancestors soon found that the operation itself was trifling, and, what was more, that once accomplished, it had the most desirable results. For their descendants preferred to concentrate at once upon the culture which they would continue to worship after the old folks were gone, and so left their parents and grandparents much freer than before from the irksome restrictions which in all ages have beset the officially holy.
Thus, by almost every hearth in the kingdom, instead of the old-fashioned rows of red jars containing the incinerated remains of one or other of the family forbears, the new generation saw growing up a collection of family slides. Each would be taken out and reverently examined at the hour of prayer. “Grandpapa is not growing well this week,” you would perhaps hear the young black devotee say; the father of the family would pray over the speck of tissue; and if that failed, it would be taken back to the factory for rejuvenation. On the other hand, what rejoicing when a rhythm of activity stirred in the culture! A spurt on the part of great-grandmother’s tissues would bring her wrinkled old smile to mind again; and sometimes it seemed as if one particular generation were all stirred simultaneously by a pulse of growth, as if combining to bless their devout descendants.
To deal with the possibility of cultures dying out, Hascombe started a central storehouse, where duplicates of every strain were kept, and it was this repository of the national tissues which had attracted my attention at the back of the laboratory. No such collection had ever existed before, he assured me. Not a necropolis, but a histopolis, if I may coin a word: not a cemetery, but a place of eternal growth.
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.