The Immortal Life of Henrietta Lacks by Rebecca Skloot

tabloid said they could “form a rooster … big enough today to cross the Atlantic in a single stride, [a bird] so monstrous that when perched on this mundane sphere, the world, it would look like a weathercock.” A string of best-selling books warned of the dangers of tissue culture: one predicted that 70 percent of babies would soon be grown in culture; another imagined tissue culture producing giant “Negroes” and two-headed toads.
    But the fear of tissue culture truly found its way into American living rooms in an episode of
Lights Out
, a 1930s radio horror show that told the story of a fictional Dr. Alberts who’d created an immortal chicken heart in his lab. It grew out of control, filling the city streets like The Blob, consuming everyone and everything in its path. In only two weeks it destroyed the entire country.
    The real chicken-heart cells didn’t fare so well. In fact, it turned out that the original cells had probably never survived long at all. Years after Carrel died awaiting trial for collaborating with the Nazis, scientist Leonard Hayflick grew suspicious of the chicken heart. No one had ever been able to replicate Carrel’s work, and the cells seemed to defy a basic rule of biology: that normal cells can only divide a finite number of times before dying. Hayflick investigated them and concluded that the original chicken-heart cells had actually died soon after Carrel put them in culture, and that, intentionally or not, Carrelhad been putting new cells in the culture dishes each time he “fed” them using an “embryo juice” he made from ground tissues. At least one of Carrel’s former lab assistants verified Hayflick’s suspicion. But no one could test the theory, because two years after Carrel’s death, his assistant unceremoniously threw the famous chicken-heart cells in the trash.
    Either way, by 1951, when Henrietta Lacks’s cells began growing in the Gey lab—just five years after the widely publicized “death” of Carrel’s chicken heart—the public image of immortal cells was tarnished. Tissue culture was the stuff of racism, creepy science fiction, Nazis, and snake oil. It wasn’t something to be celebrated. In fact, no one paid much attention to it at all.



8
“A Miserable Specimen”

    I n early June, Henrietta told her doctors several times that she thought the cancer was spreading, that she could feel it moving through her, but they found nothing wrong with her. “The patient states that she feels fairly well,” one doctor wrote in her chart, “however she continues to complain of some vague lower abdominal discomfort. … No evidence of recurrence. Return in one month.”
    There’s no indication that Henrietta questioned him; like most patients in the 1950s, she deferred to anything her doctors said. This was a time when “benevolent deception” was a common practice—doctors often withheld even the most fundamental information from their patients, sometimes not giving them any diagnosis at all. They believed it was best not to confuse or upset patients with frightening terms they might not understand, like
cancer
. Doctors knew best, and most patients didn’t question that.
    Especially black patients in public wards. This was 1951 in Baltimore, segregation was law, and it was understood that black people didn’t question white people’s professional judgment. Many blackpatients were just glad to be getting treatment, since discrimination in hospitals was widespread.
    There’s no way of knowing whether or how Henrietta’s treatment would have differed if she’d been white. According to Howard Jones, Henrietta got the same care any white patient would have; the biopsy, the radium treatment, and radiation were all standard for the day. But several studies have shown that black patients were treated and hospitalized at later stages of their illnesses than white patients. And once hospitalized, they got fewer pain medications, and had higher mortality