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Whip-smart, incisive and incredibly gripping, Zakiya Dalila Harris’s The Other Black Girl presents a powerful exposé of publishing’s unpleasant underbelly - the elitism, nepotism, poor pay, and petty power-play some senior editors exert over their assistants. Think The Devil Wear Prada with edge - its young editor protagonist wants to publish writers whose voices matter. It’s a world of white gatekeepers, white privilege, with displays of (cue tiny violin) white affront when poor behaviour is called out. And all this is done through twenty-six-year-old editorial assistant Nella Rogers, the only Black employee at New York’s prestigious Wagner Books publishing house. After feeling isolated and exhausted by the everyday micro-aggressions of her workplace, Nella is delighted when Hazel, the “Other Black Girl”, starts working next to her - until Nella starts receiving threatening notes telling her to leave the company, while having to deal with increasingly problematic office politics. Though the novel is set in the publishing world, it will resonate with anyone, for example, who’s doubted the authenticity of their workplace’s commitment to diversity. In Nella’s case, she was part of Wagner Books’ diversity group, but company interest soon waned, with no one really getting the point, or understanding why representation matters - why it matters to get it right. The brutal reality of the company’s lip service attitude to equality and representation is exposed when Nella speaks out about a white male author’s offensively clichéd portrayal of a Black female character. When he (cue another tiny violin) gets upset, feeling accused of racism, she’s expected to apologise. Never mind about his lazy, dubious characterisation - the poor man’s feelings have been hurt, goddammit! That this is nothing new is revealed through the interwoven story of Kendra Rae, Nella’s editorial heroine who blazed inspirational trails before her - but what happened to Kendra after editing a huge bestseller, she wonders? It turns out that as Nella faced a backlash after (gently) calling out her author’s caricature, Kendra’s “sin” was also telling it like it is, being “someone who rejected what was expected of her as a Black woman in a predominantly white industry.” Chiming with wit and vital commentary, this debut is a thrilling feat of fiction, with twists that are impossible to see coming.