Royce Gold lived in Gotham all his life. Growing up with his aunts he was always fiddling with mechanisms and knick-knacks, usually successfully, and it was no surprise when he stepped through the doors of Wayne Industries’ Engineering Department as an employee and not as a visitor on a tour. An Intern Engineer. At his age and with no funds to score himself formal education it was the best he could hope for at the time. The job provided countless opportunities at another of his favorite exercises, figuring out the numbers behind things and overall could be the dream fit for him. The downside were the conditions. Despite all the Department Head Lucius Fox’s efforts to change things, the pay was dreadful and the hours were long and the tasks towering, not that different from the opportunities in the rest of the city in the long run.
Royce could never tell whether meeting Milah was a curse or just an insane accident, but he was secretly glad when she disappeared from his life forever. Meeting his son, however, was all gift. Bailey was the sweetest child and though even if life became way more complicated with his appearance in it, Royce wouldn’t have traded it for anything.
The demon that accompanies the woman of my title exists in the broadest sense: as that disruptive spiritual energy which also engorges the divine. This demon is first of all the woman’s familiar, the source of her ambiguous holiness, but it is also the popular–and demonic–imagination that endowed her with this holiness in defiance of three cherished Victorian institutions: the family, the patriarchal state, and God the Father. At its most intense this seditious dream bestows the joy of a new religion. It has become commonplace to label Victorian England as an age of doubt, but a vibrant new belief infuse its most resonant vehicles of popular mythology, literature and art … it may be that we have looked for faith in the wrong places.
Nina Auerbach, Woman and the Demon: The Life of a Victorian Myth