Purchase Out Of Salem:
Seven Stories Press – Barnes and Noble – Target
Genderqueer fourteen-year-old Z Chilworth has to adjust quickly to their new status as a zombie after waking from death from a car crash that killed their parents and sisters. Always a talented witch, Z now can barely perform magic and is rapidly decaying. Faced with rejection from their remaining family members and old friends, Z moves in with Mrs. Dunnigan, an elderly witch and befriends Aysel, a loud would-be-goth classmate who is, like Z, a loner. As Z struggles to find a way to repair the broken magical seal holding their body together, Aysel fears that her classmates will discover her status as an unregistered werewolf. When a local psychiatrist is murdered by what seems to be werewolves, the town of Salem, Oregon, becomes even more hostile to “monsters,” and Z and Aysel are driven together in an attempt to survive a place where most people wish that neither of them existed.
From Kirkus’ starred review on January 28, 2019:
When a murder and accusations of werewolf terrorism shine a national spotlight on their town, Z and Aysel stand together to survive. Set in 1997, this darkly humored fantasy explores censorship, government surveillance, homelessness, and real-world (not just magical) forms of oppression. Chapters alternate between Aysel’s and Z’s points of view, winding their individual conflicts together. While classmates bully Aysel for her fatness, she owns her size and it makes her powerful. Schrieve depicts diversity among the queer and trans characters, highlighting how economic and racial privilege make the concerns of middle-aged, rich, white trans women different from those of a young, trans woman of color without access to medical care. Tension burns hot until the explosive conclusion, which begs for a sequel.
On fire with magic and revolution.
From Genevra Littlejohn’s review of Out of Salem for Lesbrary:
It’s urban fantasy of just-a-minute-ago, the Nineties as they almost were, but it’s also YA for people who weren’t born yet in the year it takes place; it balances teenage passion neatly against the now-slightly-foreign world of our past, only slightly sideslipped into the fantastic. Before cell phones, before the panopticon of stoplight cameras, but in a world that was not less dangerous to people who stand out. There’s a constant sense of being just a moment ahead of being caught, of barely outrunning the real monsters, and one can only keep running at that speed for so long before one’s energy gives out and something has to break.
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