Three books that have extremely little in common (except they're all nifty): Dia Reeves' Bleeding Violet, Marion Polk Angelloti's Sir John Hawkwood and Sophia Bennett's You Don't Know Me. Witches, pop stars and mercenaries - oh my!
Dia Reeves' Bleeding Violet (2010) has a lot of similarities with Maggie Stiefvater's The Raven Boys, in that both these books are about a mysteeerrious small town with an overtly-magical atmosphere and a (slightly odd) female protagonist hanging with a group of Chosen One-type boys.
The Raven Boys speaks a bit more about class - our protagonist is the literary equivalent of a 'townie' - the working-class daughter of a local family, living in the (ostensible) 'shadow' of some rich kids' school. Bleeding Violet is more about race - the central character, Hanna, is half African-American/half Finnish, and this informs not only her approach to the world around her, but how the world approaches her. Her background also adds a lot of depth to the way the book tackles the (incorrect) assumption that the Special Boy has to be the Chosen One. Hanna is not a sidekick, a 'love interest' or the 'comic relief' - she's the agent of her own narrative and - as it turns out - she's the one the 'meta' story is about.
Bleeding Violet is also a (bless it) self-contained story, and not the start of a series. It wrestles with the mommy issues and the boyfriend issues and the fitting in issues and the crazy portals filled with necromancer issues, and manages to wrap it all up nicely in a single volume.
This is - and prepare your torches, internet - Gaiman-like in its 21st century spin on magical realism, but vastly better written, with an intense, provocative and deeply likable central protagonist. A terrific book, and, like The Raven Boys, another example of how the year's best fantasy books can go completely overseen by the genre 'literati' because they're 'hiding' in YA. (Quotes for exasperation at the whole System of the Genre World, myself very much included.)