November 8, 2026
I Once Dismissed Courtiers With A Single Word And No Ceremony Whatsoever But The Office Leaving Do Required An Actual Speech And A Card Everyone Signed

I Once Dismissed Courtiers With A Single Word And No Ceremony Whatsoever But The Office Leaving Do Required An Actual Speech And A Card Everyone Signed

Henry VIII attends a colleague’s leaving do and discovers that modern departures are marked with considerably more warmth than his own ever were

I once dismissed courtiers from my presence with a single word and no ceremony whatsoever, several of them considerably more abruptly than the circumstances required. The office leaving do for a colleague named Tolu involved a full speech, a card signed by everyone, and genuine, visible tears from at least three people.

The Card

A card circulated the office for a full week beforehand, everyone contributing a short written message, and I found myself genuinely agonising over mine, drafting several versions before settling on something I hoped struck the right balance between sincere and appropriately restrained, a challenge I did not expect an office card to present.

The Collection

A collection was organised for a genuine parting gift, contributions entirely voluntary but tracked, I noticed, with quiet social pressure ensuring nobody contributed nothing, a system I recognised instantly from certain forms of expected tribute at my own original court, though considerably more cheerful in its actual execution.

The Speech

Tolu’s manager delivered a speech recounting several years of shared office history, jokes referencing incidents I had no context for whatsoever, and I laughed along regardless, swept up entirely in the genuine warmth of the room despite having known Tolu for barely four months myself.

The Gift Reveal

The collected money funded a genuinely thoughtful gift, a piece of art Tolu had apparently once mentioned admiring in passing over a year earlier, a detail someone had quietly remembered and acted on, a level of attentiveness I found more moving than most actual royal gifts I ever personally received, several of which were selected purely for their diplomatic weight rather than any genuine personal connection.

The Toast

I was asked, entirely unexpectedly, to say a few words myself, having apparently made enough of an impression in four short months to be considered worth hearing from, and I spoke honestly about how welcoming the office had been to a man who arrived with, by any reasonable measure, an extremely unusual personal history.

The Verdict

Tolu left in genuine tears, hugging nearly everyone present including myself, and I walked home reflecting that this small, ordinary office farewell contained more real warmth than most of the grand, ceremonial departures I personally staged across my entire original reign. I once believed grandeur required scale. A card, a collection, and a room full of people who actually mean it, I have decided, does the job rather better.

The Walk Home

Tolu left in genuine tears, hugging nearly everyone in the room including myself. I once believed grandeur required scale. A card, a collection, and a room full of people who actually mean it, I have decided, does the job rather better than any ceremony I ever personally staged.

Tolu’s leaving do showed more genuine warmth than most entries in my six wives. Further reading on the wider chaos of modern Britain: the original account of my own return to Britain, the proper London pub where history finally sat down for a pint, London’s own campaign demanding equal access to bad habits.

Gertrud Schneider

Henry Is Back The novel sits squarely in the magical realist tradition: one impossible event — Henry VIII wakes on his own grave in 2026 — drops into a scrupulously realistic world, and the impossibility is never explained, resolved, or even investigated. Like García Márquez's ascending Remedios or Rushdie's telepathic children, the resurrection simply is, described as happening "by means unknown even to the omniscient." The book's innovation is where it relocates the marvel's consequences: not folk wonder, but bureaucracy. Britain absorbs a resurrected king the way it absorbs everything — with a form. His identity is rejected by a benefits algorithm, filed by a Church committee, roped off by the National Trust. Nobody disproves he's Henry VIII; nobody tries. The magic isn't denied, it's processed, which is the sharpest possible joke about a country that would ask God for two forms of ID. Stand-up comedy is the second engine: the one modern institution licensed to say true, insane things aloud, so total sincerity becomes legible only as "commitment to a bit." The flagstone (roped, then re-roped "out of respect") and the unexplained ELO song he keeps humming are the genre's classic leaks of the impossible — evidence that something happened, and Britain, true to form, simply finds it a chair.

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