From fairytales to moments of pathos, from science fictions to parables, Morgan Bell’s Laissez Faire is similar to her earlier work Sniggerless Boundulations in that it collects weird and disorientating vignettes and microfictions, but feels more developed. Bell’s voice retains her witty absurdism, but it is complemented by a greater confidence that allows more depth of situation and character. With ‘The Glass Of Water’ a girl is navigating unfamiliar rules and craves ‘the family vibe, it didn’t matter whose family.’ Over and over, Bell places us into the heads of complex people robbed of belonging and purpose or merely appalled by the world: in ‘No Small Thing’ a woman loses her love for a man after learning how he ‘euthanized’ his pets and in ‘Juniper Bean’ another is literally torn by her opposing desires for the familiar and adventurous personified as a squid and pelican, ‘“Well girlie?” goaded the squid. “Your loyalty to kin and convention, or a whole heap of flapping around and some undefined potential to create.” “Do you wish to dwell or soar?” asked the pelican. “It’s a game of chance either way.”’ As the title Laissez Faire suggests, the interconnecting theme is that quite anything goes—anything can happen to anyone and the rules and parameters that help us make sense of existence are merely effective but restrictive illusions.