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Celina
In the late 1850s, Celina, a young girl aged fifteen, takes up work as a maid for the Hugo family in Guernsey. There she encounters the delicate balance between the professional and the personal, and the obligations upon her as her livelihood is at stake. Celina navigates a life of hardship and loss, but not without crucial moments of pleasure and pride. In a voice full of the innocence of youth, yet studded with fine observations about her surroundings, her perspective offers a nuanced, potentially challenging portrait of the man and the artist. Axelrad's fictional account is based on cryptic notes found in Hugo's diaries as well as letters from his wife.
109 pages, Kindle Edition
First published March 4, 1997
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Displaying 1 - 14 of 14 reviews
March 15, 2025
Shortlisted for the 2025 Republic of Consciousness Prize, UK & Ireland, for small presses
What do we know? Who then understands the depths of things?
Que savons-nous ? qui donc connaît le fond des choses ?
The opening line of Le Crapaud, by Victor Hugo, translated as The Toad by Mina Samuels
That day Monsieur didn’t go to La Fallue because he was working all day in his new study, which he called his ‘look-out’ since from the large window which replaced a whole side of the wall, you could see the port, the sea, the island of Sercq, and in good weather all the way to France.
Célina (2024) is Philip Terry's translation of the 1997 novel L'enfant d'Aurigny by Catherine Axelrad.
The novel is a fictionalised first-person account by Célina Henry, a maidservant, and lover, of Victor Hugo during his time living on Guernsey at Hauteville House, where he lived in exile from 1856-1870, refurbishing the house in his own distinct style (see Resources below).
Her existence is attested to in his diaries from the time, some of which were written in coded language, and he also pasted in a letter received from Célina's mother notifying him of her death:
Aurigny 11 March 1861
Je pense que Monsieur Hugo sera beaucoup dans la peine d'apprendre la triste nouvelle qui suit : Célina est décédée le 7 de mars, qui était jeudi dernier, à quatre heures et demie du matin. Elle a eu une mort très douce. Je remercie Monsieur pour tous les services qu'il a rendus à Célina, et j'espère qu'elle est au ciel, où nous espérons tous aller la rejoindre un jour. Votre très dévouée servante
Madame Henry.
I think Monsieur Hugo will grieve at the sad news herein: Célina passed away on the 7 March, which was last Thursday, at half-past four in the morning. She had a quiet death. I thank Monsieur for all the things he did for Célina, and I hope that she is in Heaven, where we all hope to rejoin her one day. Your devoted servant
Madame Henry
Many will come to the novel for the implicit portrait of Victor Hugo, and various of his works are alluded to (he was writing Les Miserables at the time, and his poem Le Crapaud plays an important role for Célina). The novel also portrays the development of Hugo's vision for Hauteville House (I believe the book is on sale there) and his own tangled love life.
But the novel is, rightly, focused on Célina and the harsh reality of the life she, and her family faced. This is done quietly but effectively, tenderly drawn, with Célina's account and voice a striking combination of the naive and the knowing.
Recommended.
The judges' citation
“Celina is a quiet book, written with great integrity. It tells the story of a young woman, born into poverty, who works as a maid in the household of Victor Hugo. In restrained and unsentimental prose it illuminates lives forgotten by history.”
The publisher
When Les Fugitives was founded in 2015, our focus was solely on Francophone women’s writing. However, we soon began to break our own rules. While Now, Now, Louison, published in 2018, is a deeply feminist work, originally written in French, which takes Louise Bourgeois’ life and art as its subject and is written by one of her close friends, Jean Frémon simply is not a woman. Later, the English language crept in. In 2021, we couldn’t resist Lauren Elkin’s No. 91/92: notes on a Parisian commute, with its idiosyncratic commuter’s-eye view of the French capital.
The seed sown by No. 91/92 soon sprouted into the quick brown fox collection, which curates English-language originals by contemporary writers of all genders. Our focus remains on women in arts and society, underrepresented experiences, marginal voices and unconventional literary forms.
In 2024, we look back on almost ten years of Les Fugitives with pride in our achievements to date. Today, we still work with French-to-English translators with a wide range of experience from award-winning to emerging, endeavouring to publish ambitious yet accessible literary fiction and narrative non-fiction. Critically acclaimed feminist women writers working in French remain close to our hearts and form the backbone of our catalogue. Now they are joined, complemented and contrasted by our English originals and other French voices. Our co-publishing project, launched in December 2023, allows us to keep our little publishing house afloat without compromising the quality of our publications. We can’t wait to see where we’ll go next.
Resources
Interview with the translator:
https://bookblast.com/blog/philip-ter...
An extract from the novel describing the (comic) first meeting between Victor Hugo and Célina Henry:
https://bookanista.com/meeting-monsieur/
Mina Samuel's translation of Hugo's poem The Toad:
https://lunchticket.org/the-toad/
BBC story on the restoration of Hauteville House, funded by Francois Pinault's foundation
https://www.bbc.com/news/world-europe...
Architectural Digest story on the restoration:
https://www.architecturaldigest.com/s...
Official guide to Hauteville House:
https://www.maisonsvictorhugo.paris.f...
What do we know? Who then understands the depths of things?
Que savons-nous ? qui donc connaît le fond des choses ?
The opening line of Le Crapaud, by Victor Hugo, translated as The Toad by Mina Samuels
That day Monsieur didn’t go to La Fallue because he was working all day in his new study, which he called his ‘look-out’ since from the large window which replaced a whole side of the wall, you could see the port, the sea, the island of Sercq, and in good weather all the way to France.
Célina (2024) is Philip Terry's translation of the 1997 novel L'enfant d'Aurigny by Catherine Axelrad.
The novel is a fictionalised first-person account by Célina Henry, a maidservant, and lover, of Victor Hugo during his time living on Guernsey at Hauteville House, where he lived in exile from 1856-1870, refurbishing the house in his own distinct style (see Resources below).
Her existence is attested to in his diaries from the time, some of which were written in coded language, and he also pasted in a letter received from Célina's mother notifying him of her death:
Aurigny 11 March 1861
Je pense que Monsieur Hugo sera beaucoup dans la peine d'apprendre la triste nouvelle qui suit : Célina est décédée le 7 de mars, qui était jeudi dernier, à quatre heures et demie du matin. Elle a eu une mort très douce. Je remercie Monsieur pour tous les services qu'il a rendus à Célina, et j'espère qu'elle est au ciel, où nous espérons tous aller la rejoindre un jour. Votre très dévouée servante
Madame Henry.
I think Monsieur Hugo will grieve at the sad news herein: Célina passed away on the 7 March, which was last Thursday, at half-past four in the morning. She had a quiet death. I thank Monsieur for all the things he did for Célina, and I hope that she is in Heaven, where we all hope to rejoin her one day. Your devoted servant
Madame Henry
Many will come to the novel for the implicit portrait of Victor Hugo, and various of his works are alluded to (he was writing Les Miserables at the time, and his poem Le Crapaud plays an important role for Célina). The novel also portrays the development of Hugo's vision for Hauteville House (I believe the book is on sale there) and his own tangled love life.
But the novel is, rightly, focused on Célina and the harsh reality of the life she, and her family faced. This is done quietly but effectively, tenderly drawn, with Célina's account and voice a striking combination of the naive and the knowing.
Recommended.
The judges' citation
“Celina is a quiet book, written with great integrity. It tells the story of a young woman, born into poverty, who works as a maid in the household of Victor Hugo. In restrained and unsentimental prose it illuminates lives forgotten by history.”
The publisher
When Les Fugitives was founded in 2015, our focus was solely on Francophone women’s writing. However, we soon began to break our own rules. While Now, Now, Louison, published in 2018, is a deeply feminist work, originally written in French, which takes Louise Bourgeois’ life and art as its subject and is written by one of her close friends, Jean Frémon simply is not a woman. Later, the English language crept in. In 2021, we couldn’t resist Lauren Elkin’s No. 91/92: notes on a Parisian commute, with its idiosyncratic commuter’s-eye view of the French capital.
The seed sown by No. 91/92 soon sprouted into the quick brown fox collection, which curates English-language originals by contemporary writers of all genders. Our focus remains on women in arts and society, underrepresented experiences, marginal voices and unconventional literary forms.
In 2024, we look back on almost ten years of Les Fugitives with pride in our achievements to date. Today, we still work with French-to-English translators with a wide range of experience from award-winning to emerging, endeavouring to publish ambitious yet accessible literary fiction and narrative non-fiction. Critically acclaimed feminist women writers working in French remain close to our hearts and form the backbone of our catalogue. Now they are joined, complemented and contrasted by our English originals and other French voices. Our co-publishing project, launched in December 2023, allows us to keep our little publishing house afloat without compromising the quality of our publications. We can’t wait to see where we’ll go next.
Resources
Interview with the translator:
https://bookblast.com/blog/philip-ter...
An extract from the novel describing the (comic) first meeting between Victor Hugo and Célina Henry:
https://bookanista.com/meeting-monsieur/
Mina Samuel's translation of Hugo's poem The Toad:
https://lunchticket.org/the-toad/
BBC story on the restoration of Hauteville House, funded by Francois Pinault's foundation
https://www.bbc.com/news/world-europe...
Architectural Digest story on the restoration:
https://www.architecturaldigest.com/s...
Official guide to Hauteville House:
https://www.maisonsvictorhugo.paris.f...
March 13, 2025
Shortlisted for the 2025 Republic of Consciousness Prize for Small Presses, UK & Ireland
'Cadavres qui passez, accusez-vous quelqu'un ?'
'Corpses passing by, are you accusing anyone?'
*
Hugo refers to Célina as saint Léger'—in French, 'saint', with its silent t', is a homophone of 'sein', the French word for 'breast'; 'léger' denotes 'slight' or 'small'. She is also referred to as 'Coelina', no doubt a nod to Pixérécourt's iconic melodrama of the same name*. Elsewhere in these diaries, noting Célina's new lovers, Hugo notes 'Célina vulgivaga'. The word is borrowed from epicurean poet Lucretius, and in this context means 'prostitute'.
Just as she satisfied, over a short period of time, Hugo's now legendary and extraordinary erotic drive—his sexual addiction—there is no telling how Célina contributed to the poet's inner progress as well. I have tried to give her back, if not life, at least a voice, her dignity, and a presence of her own.
—page vii, from the foreward (written by the author)
*
He lifted his head up, and seeing that I was looking at him he pronounced in a sententious tone: 'You see, Célina, you mustn't give up hope in divine mercy, nor stop praying to your guardian angel.’
I think it was the only time that I felt really angry with Monsieur.
—103
*
'Until tomorrow, dearly beloved, have a pleasant night and think of me in your dreams.'
___________________________________
Célina (2024) is Philip Terry's translation of the 1997 novel L'enfant d'Aurigny by Catherine Axelrad.
The Press: Les Fugitives is a London based press which focuses mostly on publishing translations of Francophone fiction written by women.
*
Interview with the translator, Philip Terry:
https://bookblast.org/blog/philip-ter...
Ovid Metamorphosed: https://www.goodreads.com/book/show/7... — mentioned in the Translator’s Note, Philip Terry first met Catherine Axelrad after translating a story of hers for this collection which he edited. while the reviews seem low, there’s some faves included—such as Margaret Atwood & Joyce Carol Oates & more—& might need to look for this in some form!!
“The Toad” by Victor Hugo, translated by Mina Samuels:
https://lunchticket.org/the-toad/
Meeting Monsieur by the author, Catherine Axelrad
https://bookanista.com/meeting-monsieur/
Hauteville House: please refer to the resource links in Paul’s review re: a BBC story on the restoration of Hauteville House, funded by Francois Pinault's foundation; Architectural Digest story on the restoration; &, an official guide to Hauteville House!
*
from the judges: "Célina is a quiet book, written with great integrity. It tells the story of a young woman, born into poverty, who works as a maid in the household of Victor Hugo. In restrained and unsentimental prose it illuminates lives forgotten by history."
'Cadavres qui passez, accusez-vous quelqu'un ?'
'Corpses passing by, are you accusing anyone?'
*
Hugo refers to Célina as saint Léger'—in French, 'saint', with its silent t', is a homophone of 'sein', the French word for 'breast'; 'léger' denotes 'slight' or 'small'. She is also referred to as 'Coelina', no doubt a nod to Pixérécourt's iconic melodrama of the same name*. Elsewhere in these diaries, noting Célina's new lovers, Hugo notes 'Célina vulgivaga'. The word is borrowed from epicurean poet Lucretius, and in this context means 'prostitute'.
Just as she satisfied, over a short period of time, Hugo's now legendary and extraordinary erotic drive—his sexual addiction—there is no telling how Célina contributed to the poet's inner progress as well. I have tried to give her back, if not life, at least a voice, her dignity, and a presence of her own.
—page vii, from the foreward (written by the author)
*
He lifted his head up, and seeing that I was looking at him he pronounced in a sententious tone: 'You see, Célina, you mustn't give up hope in divine mercy, nor stop praying to your guardian angel.’
I think it was the only time that I felt really angry with Monsieur.
—103
*
'Until tomorrow, dearly beloved, have a pleasant night and think of me in your dreams.'
___________________________________
Célina (2024) is Philip Terry's translation of the 1997 novel L'enfant d'Aurigny by Catherine Axelrad.
The Press: Les Fugitives is a London based press which focuses mostly on publishing translations of Francophone fiction written by women.
*
Interview with the translator, Philip Terry:
https://bookblast.org/blog/philip-ter...
Ovid Metamorphosed: https://www.goodreads.com/book/show/7... — mentioned in the Translator’s Note, Philip Terry first met Catherine Axelrad after translating a story of hers for this collection which he edited. while the reviews seem low, there’s some faves included—such as Margaret Atwood & Joyce Carol Oates & more—& might need to look for this in some form!!
“The Toad” by Victor Hugo, translated by Mina Samuels:
https://lunchticket.org/the-toad/
Meeting Monsieur by the author, Catherine Axelrad
https://bookanista.com/meeting-monsieur/
Hauteville House: please refer to the resource links in Paul’s review re: a BBC story on the restoration of Hauteville House, funded by Francois Pinault's foundation; Architectural Digest story on the restoration; &, an official guide to Hauteville House!
*
from the judges: "Célina is a quiet book, written with great integrity. It tells the story of a young woman, born into poverty, who works as a maid in the household of Victor Hugo. In restrained and unsentimental prose it illuminates lives forgotten by history."
August 25, 2024
Fuck this book is amazinggvggghggghhhhhh
August 27, 2024
4.5 - 5 It absorbed me completely
May 23, 2025
Fantastic book!
August 12, 2024
Occasionally it was a difficult read but it gave insight into the difference in societal attitudes towards young women in the 1800’s.
October 15, 2024
truly and so quietly gorgeous
February 26, 2025
[As] I stood there watching him without making a reply he added: I won't be giving you any money today because I'm going to give you a little present tomorrow when you come to wish me goodbye. Would you like it if I gave you my portrait, too?' I nodded my head rapidly up and down in a way that always made him smile, but I'd made up my mind not to speak and he said: 'Right, then. Now you must leave me to work.' For several weeks Monsieur had been writing a lot: he worked for a longer stretch in the morning, and sometimes also after lunch, on some old papers that he'd pulled out of his trunk after the visit from doctor Allix. He'd even sent Rosalie out to buy him half of ream of new paper, and he had brandished the lot in front of monsieur Malot when he'd come up to see the look-out, without making him read it but saying: 'When France has regained its liberty, schoolboys will learn what fraternity is thanks to my Misérables.'
Shortlisted for the 2025 Republic of Consciousness Prize for UK and Ireland Small Presses – set up in 2016 to “reward, celebrate and promote literary fiction (explicitly including translated fiction and short story collections) that mainstream publishing was not supporting - work that is innovative, creatively challenging, and a financial risk on behalf of the publisher.”
It is published by Les Fugitives - a London based press which focuses, although not quite exclusively, on publishing translations of Francophone fiction written by women.
It has a great relationship with the prize - shortlisted in 2018 (when I was among the judges) for “Blue Self-Portrait” by Noémi Lefebvre and translated by Sophie Lewis, then longlisted in 2019 for “Now, Now, Louison” by Jean Frémon translated by Cole Swenson, and in 2024 for “May the Tigris Grieve for You” by Emilienne Malfatto and translated by Lorna Scott Fox.
The novel was written in French by Catherine Axelrad and published as long ago as 1997 as L'enfant d'Aurigny.
The author shared it with the translator Philip Terry not long after publication and suggested he translate it. He worked on it for over 20 years trying to interest a few publishers without luck, before returning to the novel in 2022, discovering Les Fugitives and their core mission and sending the novel unsolicited to Cécile the presses editor. And from there she worked quickly with him to finalise and publish his translation.
The novel is a fictionalised first-person autobiographical account by (the real life) Célina Henry. In particular it concentrates on her time as the maidservant, and lover, of the hugely renowned author (and sex addict and serial philanderer) Victor Hugo during his time living in exile in Guernsey for some 15 years.
Terry’s specialises in translation of Oulipian works and was himself shortlisted for the inaugural Goldsmith’s Prize for his experimental novel Tapestry (about the unexplained marginal images in the Bayeux Tapestry).
It is perhaps not surprising that as explained in an (always welcome) translator’s note as well as this interview (https://bookblast.org/blog/philip-ter...) the translation contains some deliberate gentle constraints on form and even a clever Easter egg
But more than anything it benefits as the Translator’s Note says from its “long gestation” to really capture Célina’s distinctive voice - her lively sense of humour combined with both a fatalism about the many deaths in her family (her father in a fishing drowning, a number of her siblings and finally her from consumption) and a sense of realism about her actual social freedom and relative lack of agency, in a completely natural way.
Really this is a very high quality piece of literature and translation - a genuine pleasure to read and fully worthy of its place in the longlist given Les Fugitives role in delivering it to an English speaking audience after its multi-decadal gestation.
October 11, 2025
This is why I read! A lovely, novelistic account of Victor Hugo’s chambermaid; think Mary Reilly, but literary fiction. In this telling, the titular Celina receives Hugo’s attentions with a kind of cool indifference, and it’s that indifference that quietly reveals the rote power he holds—so habitual, he barely knows he’s wielding it.
The novel doesn’t flatten Hugo into a simple womanizer, but rather recasts him as something far more unsettling: a predator. Still, the book does no disservice to Celina by making her a victim, not in the first, nor in the least. It’s a tragedy, yes, but one that never undermines her autonomy. Her way of moving through the world feels deeply contemporary: a woman making her way, finding joy, sometimes unaware of what’s held her back. There’s power in her persistence, and Axelrod captures it luminously.
A superb and lyrical translation that weaves in historical artifacts to make Celina’s presence feel even more tangible than her famous employer’s. A quiet marvel, and well worth revisiting.
The novel doesn’t flatten Hugo into a simple womanizer, but rather recasts him as something far more unsettling: a predator. Still, the book does no disservice to Celina by making her a victim, not in the first, nor in the least. It’s a tragedy, yes, but one that never undermines her autonomy. Her way of moving through the world feels deeply contemporary: a woman making her way, finding joy, sometimes unaware of what’s held her back. There’s power in her persistence, and Axelrod captures it luminously.
A superb and lyrical translation that weaves in historical artifacts to make Celina’s presence feel even more tangible than her famous employer’s. A quiet marvel, and well worth revisiting.
October 5, 2024
a very quick and immersive book on the life of celina, a servant of victor hugo.
it was a wonderfully unique concept to delve into the life of this girl who impacted victor hugo and the family afterwards. the naivety and childlike voice (she is around 14-16) makes you ache for her for all that she goes through with men 2x her age.
it was a wonderfully unique concept to delve into the life of this girl who impacted victor hugo and the family afterwards. the naivety and childlike voice (she is around 14-16) makes you ache for her for all that she goes through with men 2x her age.
November 22, 2025
Tragic… upon finishing this book I felt sad and unsettled, plus somehow grateful that it had given Célina her own voice in a book that undeniably centers her, but I can’t say that it touched my heart.
In a way, it reminded me of “Of Love and Other Demons” if you took the magic out.
In a way, it reminded me of “Of Love and Other Demons” if you took the magic out.
November 4, 2024
A novella that feels authentic to the voice of a young servant, terribly sad but wonderfully straightforward.
February 28, 2025
Waaaaaaah 🥲🥲🥲
November 13, 2024
A beautiful and tiny tale of a short life, offering insight into both the culture of 19th century France/channel islands, and of their life of Victor Hugo.
Displaying 1 - 14 of 14 reviews