October 19, 2026
I Once Sent Messengers Across The Realm On Horseback But Argos Made Me Wait By A Conveyor Belt Instead

I Once Sent Messengers Across The Realm On Horseback But Argos Made Me Wait By A Conveyor Belt Instead

Henry VIII orders a toaster from Argos and discovers a collection system with genuine industrial theatre

I once sent messengers across the realm on horseback carrying urgent instructions, and they generally returned within the week. My toaster from Argos took four minutes, and arrived via conveyor belt with a small mechanical clunk I found strangely satisfying.

The Catalogue Terminal

I selected the toaster using a small terminal screen, browsing categories with the same slow deliberation I once brought to selecting an ambassador, and confirmed the order with a reference number I was told to remember, a number I promptly forgot within thirty seconds, a failing I have come to expect of myself in this particular century.

The Waiting Area

The waiting area itself held roughly fifteen people, all facing a single large screen displaying order numbers as they became ready, a form of collective anticipation I recognised instantly from certain public executions I once presided over, though considerably lower stakes and considerably better lighting.

The Belt

When my number finally appeared, a small hatch in the wall opened and my toaster arrived via a short conveyor belt, delivered with no ceremony whatsoever by a system entirely indifferent to the fact that I had once commanded the delivery of considerably more valuable cargo across entire oceans with rather more fanfare attached.

The Staff Member

A staff member named Kevin confirmed my item and asked if I required a bag, a question I found genuinely touching in its simplicity after everything else this century has demanded of me in the way of applications, verifications, and reference numbers. I said yes. Kevin provided one without further interrogation. It was, without question, the smoothest transaction I have completed since returning from the dead.

The Verdict

I walked home with my toaster, genuinely moved by the quiet dignity of the conveyor belt system, having expected considerably more friction from an institution I associate primarily with a catalogue the size of a small telephone directory. I once organised entire supply chains for war. Argos organised my breakfast appliance in under five minutes, and I have decided, on reflection, that this represents genuine civilisational progress.

The Loyalty Visit

I have since returned for a kettle, a lamp, and a small set of drawers, each collected via the same conveyor belt with the same quiet satisfaction, and Kevin now recognises me on sight, greeting me each time with the calm familiarity of a man who has clearly seen stranger regulars than a returned Tudor king furnishing an entire flat one item at a time.

Kevin has started saving me the trouble of the terminal screen entirely, simply asking what I need and typing it in himself, a small kindness I have come to genuinely rely on. It is, in its own quiet way, the best customer service I have received anywhere in this city. The full toaster saga sits alongside the rest of the chapters. Further reading on the wider chaos of modern Britain: Amazon’s own recent acquisition of considerably more than a shoebox, Apple’s warning that memory itself is now in short supply, the proper London pub where history finally sat down for a pint.

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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