1. Cited in Richard D. Altick, The Shows of London (Cambridge, Mass. and London: The Belknap Press of Harvard University Press, 1978), p. 266.
2. The audience for such exhibitions, like that of sensation fiction, transcended class boundaries. As Teresa Mangum suggests, ‘Though city councillors and journalists alike presumed lower-class audiences funded the display of “freaks,” the exhibitions also captivated... well-educated, middle-class consumers.’ See Teresa Mangum, ‘Wilkie Collins, Detection, and Deformity’, Dickens Studies Annual, 26 (1998), pp. 285–310
3. Wilkie Collins, The Woman in White, ed. Julian Symons (1860; Harmondsworth: Penguin Classics, 1974), pp. 31
4. See Richard Collins, ‘Marian’s Moustache: Bearded Ladies, Hermaphrodites, and Intersexual Collage in The Woman in White’, in Reality’s Dark Light: the Sensational Wilkie Collins, ed. Maria K. Bachman and Don Richard Cox (Knoxville: The University of Tennessee Press, 2003), pp. 131–72.
5. See, for example, Margaret Oliphant, ‘Sensation Novels’, Blackwood’s Edinburgh Magazine, 91 (1862), pp. 564–85