THE TISSUE-CULTURE KING (7)
October 15, 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.
The experiments which most excited his imagination were those he was conducting into mass telepathy. He had received his medical training at a time when abnormal psychology was still very unfashionable in England, but had luckily been thrown in contact with a young doctor who was a keen student of hypnotism, through whom he had been introduced to some of the great pioneers, like Bramwell and Wingfield. As a result, he had become a passable hypnotist himself, with a fair knowledge of the literature.
In the early days of his captivity he became interested in the sacred dances which took place every night of full moon, and were regarded as propitiations of the celestial powers. The dancers all belong to a special sect. After a series of exciting figures, symbolizing various activities of the chase, war and love, the leader conducts his band to a ceremonial bench. He then begins to make passes at them; and what impressed Hascombe was this, that a few seconds sufficed for them to fall back in deep hypnosis against the ebony rail. It recalled, he said, the most startling cases of collective hypnosis recorded by the French scientists. The leader next passed from one end of the bench to the other, whispering a brief sentence into each ear. He then, according to immemorial rite, approached the Priest-King, and, after having exclaimed aloud, “Lord of Majesty, command what thou wilt for thy dancers to perform,” the King would thereupon command some action which had previously been kept secret. The command was often to fetch some object and deposit it at the moon-shrine; or to fight the enemies of the state; or (and this was what the company most liked) to be some animal, or bird. Whatever the command, the hypnotized men would obey it, for the leader’s whispered words had been an order to hear and carry out only what the King said; and the strangest scenes would be witnessed as they ran, completely oblivious of all in their path, in search of the gourds or sheep they had been called on to procure, or lunged in a symbolic way at invisible enemies, or threw themselves on all fours and roared as lions, or galloped as zebras, or danced as cranes. The command executed, they stood like stocks or stones, until their leader, running from one to the other, touched each with a finger and shouted, “Wake.” They woke, and limp, but conscious of having been the vessels of the unknown spirit, danced back to their special hut or clubhouse.
This susceptibility to hypnotic suggestion struck Hascombe, and he obtained permission to test the performers more closely. He soon established that the people were, as a race, extremely prone to dissociation, and could be made to lapse into deep hypnosis with great ease, but a hypnosis in which the subconscious, though completely cut off from the waking self, comprised portions of the personality not retained in the hypnotic selves of Europeans. Like most who have fluttered round the psychological candle, he had been interested in the notion of telepathy; and now, with this supply of hypnotic subjects under his hands, began some real investigation of the problem.
By picking his subjects, he was soon able to demonstrate the existence of telepathy, by making suggestions to one hypnotized man who transferred them without physical intermediation to another at a distance. Later — and this was the culmination of his work — he found that when he made a suggestion to several subjects at once, the telepathic effect was much stronger than if he had done it to one at a time — the hypnotized minds were reinforcing each other. “I’m after the superconsciousness,” Hascombe said, “and I’ve already got the rudiments of it.”
I must confess that I got almost as excited as Hascombe over the possibilities thus opened up. It certainly seemed as if he were right in principle. If all the subjects were in practically the same psychological state, extraordinary reinforcing effects were observed. At first the attainment of this similarity of condition was very difficult; gradually, however, we discovered that it was possible to tune hypnotic subjects to the same pitch, if I may use the metaphor, and then the fun really began.
First of all we found that with increasing reinforcement, we could get telepathy conducted to greater and greater distances, until finally we could transmit commands from the capital to the national boundary, nearly a hundred miles. We next found that it was not necessary for the subject to be in hypnosis to receive the telepathic command. Almost everybody, but especially those of equable temperament, could thus be influenced. Most extraordinary of all, however, were what we at first christened “near effects,” since their transmission to a distance was not found possible until later. If, after Hascombe had suggested some simple command to a largish group of hypnotized subjects, he or I went right up among them, we would experience the most extraordinary sensation, as of some superhuman personality repeating the command in a menacing and overwhelming way and, whereas with one part of ourselves we felt that we must carry out the command, with another we felt, if I may say so, as if we were only a part of the command, or of something much bigger than ourselves which was commanding. And this, Hascombe claimed, was the first real beginning of the superconsciousness.
Bugala, of course, had to be considered. Hascombe, with the old Tibetan prayer wheel at the back of his mind, suggested that eventually he would be able to induce hypnosis in the whole population, and then transmit a prayer. This would ensure that the daily prayer, for instance, was really said by the whole population, and, what is more, simultaneously, which would undoubtedly much enhance its efficacy. And it would make it possible in times of calamity or battle to keep the whole praying force of the nation at work for long spells together.
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.