Still haven't nominated titles for the 2012 Cybils?

Here are a very few that have yet to be mentioned on the YA list:

Bittersweet, by Sarah Ockler:

There's a LOT going on in this book. It doesn't feel like too much, though. The four main threads—family/responsibility, friendship, future/dreams, and romance—are all balanced. Each major thread even has a minor thread that parallels it—if Hudson's voice had been less believable, I'd have had a hard time seeing all of those coincidences as anything other than a literary device. As it was, I was able to take them at face value: as stuff that just happens.

Erebos, by Ursula Poznanski (this is such a mish-mash of genres that it could end up in either YA or SF/F):

Part of the reason that everyone gets so pulled into the game is the hyper-realism of it, and Poznanski really, really captures that—the fantasy sections feel just as believable and real as the real life sections. And she drops hints as to the Real Story behind at all (in other words, the solution to the mystery), but I was so involved in Nick's part of it that I—like him—couldn't see the forest for the trees. Seriously, guys. She does a fantastic job integrating multiple genres while still allowing them their distinct personalities.

Flirting in Italian, by Lauren Henderson:

Not just because of all of the fun—and there’s a lot of it—but because it’s flat-out Good Stuff. It’s an entertaining, light read, and it’s smart. For one thing, Henderson has a fabulous ear. I’m not talking about the British, American and Italian characters using appropriate slang, which they do, I’m saying that she even nails the varying rhythms of their speech. That, and she highlights cultural differences without ever breaking character or getting didactic.

The Girls of No Return, by Erin Saldin:

The Girls of No Return is absolutely, completely gripping—once I’d started reading, I didn’t put it down, not even while I was giving blood—and despite its subject matter, it’s never exploitative. It never compromises its emotional core, and never feels like anything but The Truth. It left me feeling wrought-out and wrecked, but in a good, subtly supercathartic way.

Try Not to Breathe, by Jennifer R. Hubbard:

Ryan is always frank and straightforward and matter-of-fact, whether he's talking about his day-to-day life, or explaining how and why his father found him in a closed garage with his hand on the car key, or admitting that he still thinks about suicide. His voice always sounds real, clear, and most importantly, true. 

Various Positions, by Martha Schabas:

It's beautifully written. That should already be apparent from the excerpt above. But it's not just in the way that Schabas strings her words together. It's in the depth of emotion, and in Schabas' complete honesty. Georgia is a sharp observer—which is fitting in a book so full of cruel truths—but she doesn't always understand what she observes; she's extremely self-aware, but doesn't always understand her own feelings; she's very composed on the surface, but her insides are a mass of confusion. She's a difficult—for herself, those who know her, and those of us in the audience—mixture of mature and immature, understanding and confusion. 

To those of you who've already used up your nominations: are there titles that you feel have been overlooked?