Saturday, February 20, 2016

Kimberly Southwick interviews Katie Raissian for REAL PANTS


Our publisher Katie Raissian speaks with the publisher of GIGANTIC SEQUINS, Kimberly Southwick, about how and why STONECUTTER started, Katie's social media learning curve, the successes and failures of running a lit mag, and a whole lot more.

"We’re a bit like the mafia—once you’re in the family, you’re in. You’ll have our undying support and love forever."

Read the full interview at REAL PANTS here.

Thursday, December 31, 2015

STONECUTTER's Katie Raissian's Best Poetry Collection of 2015 for LITERARY HUB

Lit Hub's Adam Fitzgerald asked our publisher Katie Raissian to select her favorite collection of 2015. She chose LIGHTING THE SHADOW by Rachel Eliza Griffiths:

Lauded by Pulitzer Prize winner Tracy K. Smith as 'rare and revelatory' and by National Book Award winner Terrance Hayes as 'a book of spellbinding radiance,' Lighting the Shadow journeys us across vast landscapes of memory and forgetting, of violent histories and myth, of racist brutalities past and present. Drawing on myriad influences—from Kahlo to Jarrell, Darwish to Rukeyser, Brautigan to Clifton—Griffiths expertly examines American and world history through a dually personal and literary lens, exploring what it means to be woman, body, voice, victim, witness... These are live-wire poems that burn and lament, that speak to history’s numerousness, its silences and its voids, and transform those silences into song.

Read the full article here

Tuesday, November 3, 2015


"Stonecutter reminds us that we don’t have to allocate so much time to reading in order to find something gripping, sumptuous, or idiosyncratic...The unifying theme that I saw recurring through each piece was this sense of stillness, an exploration of defining an introspective silence. And with autumn just around the corner, we need to recognize more periods of silence and how we can fill them....what speaks to me about Stonecutter is its call to redefine silence in our lives. Every piece finds a way to make each quiet moment seem like it’s bursting....With each work finding a new way of reaching a calmness and clarity, Stonecutter achieves a full rating easily."

Thanks to Monique Briones and The Review Review for this incredible and insightful write-up of Issue 4!

Friday, October 16, 2015

Join STONECUTTER at the Irish Arts Center for the 7th Annual PoetryFest!

Saturday, November 7 at 2pm 

Stonecutter presents Emerging Voices 

with readings from 

Lucy Ives, Elaine Feeney, Connie Roberts, & Wendy Xu 

 Irish Arts Center (IAC): 553 West 51 Street, New York, NY 10019

Thursday, July 24, 2014


The good folks at UK powerhouse DAZED have named STONECUTTER one of the "top ten mags set to keep you in the know." Read the full list here

Wednesday, July 2, 2014

Maria Takolander's "Three Sisters" featured in ELECTRIC LITERATURE'S RECOMMENDED READING

We're big fans of Electric Literature and their fantastic publication, Recommended Reading, which is devoted to promoting short fiction. So you can only imagine how thrilled we were when RR editor-in-chief Halimah Marcus approached SC editor and publisher Katie Raissian about guest editing for them. The issue, #111, published today, features the incredible story "Three Sisters" by Maria Takolander. Originally published in Australia by Text Publishing, the story first appeared in the US in Issue Four of Stonecutter. We are so delighted that Recommended Reading love it as much as we do! Read the story here.

Issue No. 111


A singular piece of contemporary fiction, Maria Takolander’s stunning Chekhov-inspired story, “Three Sisters” is the perfect introduction to an incredible new international writer.
Taken from Takolander’s sensational debut collection, The Double (Text, 2013), and published for the first time in the USA in issue four of Stonecutter, “Three Sisters” brings us into the decaying, swampy environs of an unnamed rural Australian roadhouse. There reside immigrant sisters Oksana, Svetlana, and Tatiana, who silently yet steadily eke out their days amidst the marshlands. The tedium of their daily lives is barely interrupted by the characters who invade their surroundings—an obese, clownish truck driver, and an old, fragile, foreigner; Lear and his fool.
Drawing on Chekhov’s fire-ravaged and eventually abandoned town, the world of Takolander’s story has also been transformed by some unknown force—by nature or economic failure, diaspora or disinterest. We are never told exactly what. Nonetheless, we fully enter it, navigated by an omniscient voice—something of a tour guide to this fable-like realm—who, in sweeping panoramas, commands that we “look” and “see” everything, lest it dissolve or remain forever invisible. And so, we visit the town’s decaying museum and its abandoned playground, consider its sprawling mangroves and roving gangs of mosquitoes, and bear witness to an otherwise forgotten place.
When we finally cross the threshold of the roadhouse and meet the sisters, they are quite unlike Chekhov’s vocal women. Takolander’s creations are taciturn, mythic creatures; weathered statues amidst total ruin. And though the sisters are “spoken for” by the story’s narrator, and “spoken at” by the two male figures in the tale, they are still formidable presences—business people, the last vestiges of an area that nature and poverty have otherwise vanquished.
Takolander’s stories astonish. They show ordinary lives, the marginalized, our sisters, whose histories have been forgotten or remain untold: the men with their bloody steaks, the phantom on the swing, the shadows of birds with their pickaxe heads. To see and feel and recognize these characters and their silences, to be brought into a strange, nameless place and, having peered at the world from both within and beyond the frame, to come away from it with knowledge and understanding—this is the remarkable gift that a Takolander story gives to us.

Katie Raissian
Publisher and Editor-in-Chief, Stonecutter