Jackpot, Jeanne Morel
Review and Interview by Mary Ellen Talley
Jeanne Morel’s second chapbook, Jackpot (Bottlecap Press, 2020), travels within a map of language and place. With mentions of North America, Parisian fountains, and the Mekong River in the rainy season in the first poem, “Birthday Parties are Pluperfect,” I knew I was in for an exploration of semantics and quotidian nostalgia.
For instance, which meaning of “pluperfect” is Morel addressing? If birthday parties are pluperfect, are such annual celebrations a grammatical reference to the past perfect tense, or should we choose the other meaning—that such celebrations are more than perfect? Morel presents an ambiguous choice. In several poems, Morel lists options for possible word meanings for readers to ponder. Many poems, adjacent or elsewhere, resonate with one another and it was fun to find and return to recurring details.
Morel does not plunge head-on into serious topics; she jumps in and out to surprise and delight, then moves onward. With sardonic vernacular, the first poem informs: “Upstream is where the shit begins.” The poem ends tongue-in-cheek:
Lordy, what an outfit
If you wear that, no one will take you seriously
Not this Christmas
Not the day after that either
& out of the sky dropped a billion butterflies!
Shimmering like olive trees, only orange and purple –
Take this to the boss
and best of luck
This chapbook’s thirty pages of inventive grammar in experimental free verse include the incidental as well as the substantive. We come across maps, rats, insects, Winnie-the-Pooh, planets, storage containers, and ice cubes, as well as politics, planets, nuclear bomb testing, astronomy, geometry, logic, and bits of colloquialisms. A bartender shows up as insects crawl over the fence in “Longer than the Wrong Road,”
The saloon doors slap behind me.
Butterflies flood the
underworld. Where do you come
In a recent conversation, Jeanne shared that “Many of my poems involve movement – and/or lack of movement. Many, like the first poem, collage multiple locations and times. I’m intrigued by what Kwame Dawes calls ‘the tension between the here and the there’ […] and the collage of memories.”
Morel is not a poet of abstract language, metaphor, or message. “I don’t think about images,” she said. “I think of gathering […] I follow sound. I don’t write into ideas or messages.”
Morel’s poems are not linear. Her lines hop, skip, and jump thematically but also remain circular as threads return and reverberate throughout. The box-contained poem “Splintering Tiny Soup Bowls Up Into the Sky,” opens up “Grounded in a place you can’t see,” like nested “Russian dolls comet-ing / across the sky.” As Morel goes about her poetic gatherings, she weaves in tidbits of information, such as “Prussian Blue, the color invented by / accident.”
Regarding poets important to her, Morel said, “I go to Marvin Bell for inspiration. He said art is a way of life, not a career. He advised students to read poets who don’t write the way they do. Some of my favorite poets are Richard Hugo and Philip Levine, even though my poetry isn’t anything like theirs.”
Several poems touch upon serious concerns, such as the U.S. nuclear testing in 1962 in “A-Bombs Over Nevada” or the reactions of an Iraq War veteran in “Given the Conditions.” Morel’s touch is light while offering information, insight, and juxtaposition. For example, she mixes “lullaby sun” with the “slung fences” of the WWII internment camp in the sonically lovely poem, “Purple Over Tule Lake.”
Although these poems are not personal, the reader may infer snippets about the speaker/poet with her references to a student visiting during office hours, yellow roses outside a kitchen window, or the presence of a cat. In “An Unsuitable Home for a Cat,” Morel refers to the serious issue of nuclear waste at Hanford, Washington:
Richland wives in glasses
Oh, don’t worry
about that – my mother in
when I fretted
about radiation wafting
over after Fukushima
My buddy cat black
In “The Next Day I Was Almost Done with Dinner When a Student Came & Pulled Up a Chair,” Morel writes,
Sounds like a circus spectacle – a jester jostling for power in the aisle
of the commuter bus. The medium is the message; the freeway the periphery; the bleats a form of saccharine.
In “Map,” Morel parses lists of words for parts of speech and idioms. She also throws in an assignment, as “Write a letter to a relative explaining the verb – to map. Mail it / to the president .” Assignments likely come naturally to her. Although she has been involved in refugee and resettlement work, she presently teaches as an adjunct professor at Seattle Central College and Bellevue College in Washington state. When asked about the impact of her teaching, Morel said, “My writing helps my teaching. It feeds my teaching.”
Few of Morel’s poems stay within the justified left. The margins meander in sentences or phrases, sometimes ending a short line with an article, which tends to create a pause. In more conventional poems, I might find this distracting, but distraction is part of experimental poetry, as it is in life. She also uses numbers, dashes, bullets, brackets, slashes, & ampersands and employs random segues, spare punctuation and semantic word play, often eschewing capitals or periods. An example of this is found in “Nobody Cares What Color My Coat is.” The poem begins with image and map:
I wrap myself in an alphabet for stormy
& head across the pass map-less & w/o a hat
and yet some days I can’t
leave the house unless I’m dressed in blue jeans, a black t-shirt,
You have too many consonants & vowels in your name
[the real estate woman smirked
Morel addresses issues of our current situation in “Crawl City,”
When you are obsessed is no
time for pleasantries
the television of all night
a monitor monitoring our every move
above the cash register
while rats race labyrinths
/ in the space between
your hairline and your fine plucked
This chapbook is a tall refreshing glass of water. Or perhaps a glass of wine? The title poem (also the last poem), “Jackpot,” presents “salmon, sagebrush // & Syrah.” There’s honest humor: “The only major / state of grace ka-ching / ka-ching.”
I noticed the circular juxtaposition with the first and last poems. The first poem, “Birthday Parties are Pluperfect,” begins with ascent,
Why did the balloon float over the fence? /
wind – helium & a string let loose –
All the fences in North America are at right angles with one another.
Then “Jackpot,” ends with descent:
number–drop a deep
on the carpet swirl/ watch
Morel seems to be telling us that life is both a gamble and a roller coaster. She presents numbers and mathematics which give us odds that are less than we might predict. Perhaps we’re just in it for the ride. Sometimes we hit the “Jackpot!”
Jeanne Morel is the author of two chapbooks, Jackpot (Bottlecap Press) and That Crossing Is Not Automatic (Tarpaulin Sky Press). She holds an MFA from Pacific University and has been nominated for a Pushcart in both poetry and fiction. Her poetry has been published in great weather for MEDIA, Phantom Drift, Dunes Review, and other journals. She lives in Seattle where she teaches writing and is a gallery guide at the Frye Art Museum.
Mary Ellen Talley is a former speech-language pathologist. Her poems have appeared widely in publications including Raven Chronicles, Flatbush Review, and Banshee, as well as in several poetry anthologies. Her poems have received two Pushcart nominations. Book reviews by Talley appear online and in print journals, such as Compulsive Reader, Crab Creek Review, Entropy, Sugar House Review and Empty Mirror. Her forthcoming chapbook, “Postcards from the Lilac City,” will be published by Finishing Line Press.
Author: Jeanne Morel
Publisher: Bottlecap Press
Purchase at Bottlecap Press: $10
Risa Denenberg is the curator at The Poetry Cafe.