Avenger, by Heather Burch
Black Helicopters, by Blythe Woolston
Dear Life, You Suck, by Scott Blagden
Going Vintage, by Lindsey Leavitt
If You Find Me, by Emily Murdoch
Impostor, by Jill Hathaway
Period 8, by Chris Crutcher
Shadow on the Sun, by David Macinnis Gill
Wasteland, by Susan Kim and Laurence Klavan
Yaqui Delgado Wants to Kick Your Ass, by Meg Medina
You Know What You Have To Do, by Bonnie Shimko
New paperbacks (that I've read):
A Touch of Scarlet, by Eve Marie Mont:
Emma's narration never really gels into a consistent, believable voice. She ranges from snarky-casual to super-duper stiff and formal (with the occasional infodump), and there's a lot of telling rather than showing, especially when it comes to the interactions and relationships between the characters. Michelle's storyline (along with the student protest and the alternaprom and the end of Dr. Overbrook's arc) never completely integrates with the rest of the story, and so it feels at best, like it should have gotten its own book, and at worst, extraneous.
The Immortal Rules (Blood of Eden), by Julie Kagawa:
First, the explanation of the world—or, at least, the world as Allie knows it—is done almost all at once, in a pages-long voiceover. It’s a serviceable method for getting a lot of information across quickly, and it’s likely that most readers will find it inoffensive, but it was a whole lot of tell-tell-tell (as opposed to show-show-show) for my delicate sensibilities.
Masque of the Red Death, by Bethany Griffin:
While the atmosphere really is wonderfully done—Araby's narration fittingly shares that muffled, deadened quality—and I very much appreciated Griffin's writing, I can't say that Masque of the Red Death was an entirely enjoyable read. (Which isn't necessarily a necessity in a book, of course. But, you know. It's a factor in recommending it to other people.)
The Selection, by Kiera Cass:
America is infinitely slappable, as are BOTH love interests. (Duh. OF COURSE Maxon falls for her, so there's a love triangle!) The characters act more in keeping with what is convenient for the storyline—for instance, when America tries to warn Maxon about the super-duper bitchitude of one of the other contestants, he pulls the I'M ROYALTY AND YOU'RE NOT, THEREFORE YOU CAN'T TALK TO ME LIKE THAT routine, even though up until then, he'd sought out her opinion about stuff like that—than with their own personalities, and most of America's major decisions seem to be based more on who she's angry with at the time than in any sort of logic.