Lee B. Mack

(01/04/1957 to / Shelbyville, Kentucky)

Biography of Lee B. Mack

Lee B. Mack poet

LEE BROCK MACK (Psychobiography)

Lee Brock Mack poet, Semi-Retired Financial/Systems Consultant, Community College and High School part time Teacher; is author of the 1977 poems: “Gifts of Strength” and “Home Train.” Mr. Mack recognized traditional philosophies and practices of poetry, and works hard to spearhead some works he hopes will entertain and find acceptance as improvisational poetry. His native language is English and he strives to express empathy with English traditions, other native tongues, ancestral and historical expression; like jazz, poetry improvisation is developing as a new modal set, expressive similar to chord changes in music, and trial and error (or rather, assumptive and science of literature) approaches, as well as the art of improvisation.

Lee’s poetry seeks to be expressive of the melodic harmonies and tempos of: Charlie Parker, Coltrane, Cannonball, Tony Williams, Miles Davis, Dizzy, Wynton, Duke, Louie, Brubeck and Desmond, Handcock, Clifford Brown, Roach, Peterson, Chambers, Monk, Basie, Tatum, Marsalis, Silver, Holiday, Ella, and Sarah; otherwise, leaving readers to applied free punctuation, Fourier harmonics, mimetic, and untranslatable prosody. The foot, meter, ancient languages, and epochs parley to invent and dial by ear to hit colloquially in Modern English. Therefore, lyricists in the musical, oral, improvisational and modal sense seek after an evolving non-traditional prosody. That suggests a more open language set. For example, ‘lead sheets’, as free grammar concepts. Sahu, Ab, and Ausar are ancient Egyptian terms that synthesize throughout mythologies to infer levels of expression of man’s creative, imaginative, and will to fulfill his spiritual nature. These terms describe the spirit of man as:
1) Sahu - man’s language and nature developed to the spiritual level of emotional and sensuous dependence; limited mental perception and understanding;
2) Ab - man’s language and nature developed to limited knowledge but ability to understand and perceive mental abstractions beyond physical events; and
3) Ausar - man’s nature and language developed to the level to intuitively express and avoid the influences of physical events and solve his problems.

A wider rationale, and openness help describe spirit aspects of man; one as a son of God. Another as a communicator in God's intuited {Spirit} name, ‘Adonai’ (Ausar) , “Lordeth over all creatures and is the purveyor over all waters and stone; according to her intuited invention of language; even before anointing the first formed of man”.

These are examples of language necessary to develop extensions to foot, meter, and improvisation of expression in a new modal set... In addition, more of this kind of openness is necessary to enable the future rendering of improvisational extensions through personification to the levels of spirituality. Lee advised on the table of contents of this first collection of his unpublished work titled, OVERTURE: THE BOOK OF SPIRITUAL GIFTS OF STRENGTH. Lee Mack was born in Shelbyville, Kentucky in 1937. His family of four includes his deceased father, Lee Nor and his mother Margaret, of Shelbyville, and his sister, Lavolia ‘Patsy’ Mack-Miller of Burtonsville, Maryland.

Although he has not published any of his work before, two 2004 publications will issue with a token of his work included. He first attended college at Kentucky State but entered the military after one year. He spent all of his military years in New Jersey and California. He worked as a military liason (enlisted man) with MIT engineers and German scientists on the highly secret intelligance, SPUTNIK (October,1957) , and related MOBIDIC military contract PROJECTS at the Sylvania Electronics Defense Laboratory, Mountainview and Palo Alto, California; and at Deal, New Jersey; 1956 through 1958. He accepted his discharge to spend a year following the jazz music scene in New York, where he briefly roomed with college peers and with a pianist who played with Miles Davis. His love of jazz grew over the years. Jazz and poetry in his view became the true American arts of life.

He arrived in Washington, D. C. in 1959 to attend Howard University where he became acquainted with a small group of student artist and writers who identified themselves as at the center of the civil rights movement and art expressionist of the movement.

Mack degreed at Howard graduating in 1974, while spending much of his time as a civil servant and raising one daughter who also degreed at Howard and who has the two of his young grandchildren. His daughter is now Director of Technology for the graduate school of education at George Washington University, in Washington, D.C. And lately at NIH and SRA International.

Mack is known among intimate friends for writing poetry. In 1977 he wrote the poem, Gifts of Strength; often reading with friends at holiday, reunions and occasionally at clubs and parties. Mack moved to Florida in 1999 where he continued his early retirement from government and began to write more poetry.


Introduction: To the Poets

About Poetry Improvisation

The spirit has the intent, purpose, and openness to convey love. The spirit is source of that precious intended movement in these poems. In the attempt to recreate, suggest, even orchestrate and attune these poems to the reader’s ear and appetite; improvisation is left open encouraging the reader to read again and again to sing her own tune into the reading of these poems. The Spirit moves in its own language; from love to states of love. Progressively! Mimetic.

A mechanism for this spiritually dialectic poetic possibility to create turns on the action of slicing nouns and leavening verbs into lettering and a syntax of the moment. The imagination and emotion should not be necessary when resting on the arm to read these poems. Improvising from inside may be necessary for poetic connections and the metaphor-morpheme spirit, flesh, and soul. Inside the membrane of the “spirit”. Meditatively vocalized from aaa eee musicially iiiii oooooo uuu through all movement to interpretive language. For aeon durations as if in space-time.

Improvisational poetry suggests a new modal poetry in context, and hopefully in content, as resounds in the reader; if critiqued from the reader’s point of view. The traditional philosophy and practice of poetry contains nearly all of the elements of the recognized new modal poetry. There is already perhaps a mutual respect for old and new modes. However, the improvisational poetry existing today is probably kept in notes or tossed away as draft material. Marginalize for young babes of poetry.

All poetry exists today to inspire in some way. There is some feeling that the body poetry today is existential to a greater extent. Poetry could grow from encapsulating experiences into primitive bizarre fancifulness, into more profound and simpler expressions of tense-less surprise and expectation. Eventually, poetry should rise to the expression of the spiritual nature of life in the light surrounding us. The vision preferred is that poetry is the matter that composes us. Spiritual life is full of glory without the tenebrosity of dialectical rap-ism and dialectical comedic pornography and dialectical popcycle entrepreneurial avarices. Pure honesty of pure innocence requires pure truth; in language as well as in spiritual life filled and in pure glory. Poetry.


(Epilogue, page 2)

Improvisational poetry is one genre that greatly facilitates a progression. We hope to contribute in some small part, to the idea that this poetry will develop similar to the classic development of improvisational jazz; incorporating progressions from gospel, blues, classics, bop, rock, swing, fusion, rap, metal, sex and politics, and education and resurrection into a future mode that is always evolving. In addition, we sense poetry progressing without the natural and fanciful universal heroics of epics, war and murder.

Lee’s poetry suggest an open existential African, African American, Norman-German, Modern English, and others in personal spirit and in vernacular; inclusive and determinative of spiritual inspiration. Never mindful of chord, sectional-rhythmic, pitch, metric and chant pattern integration; though ever mindful of the potential to encourage nuances of mutual soul experiences, of the spirit and emotions; and eclectic catharsis.

Yes, language? Language without punctuation in improvisational poetry is a liberty taken that will meet with unfavorable consequences from all the mentors and readers. But this modal method challenges the ear of reading to read between the letter-notes and the line. And like an actor reading scripts may help to bring about other interpreted presentations.

Lee B. Mack's Works:

One poem published in a British book of 2004.

PoemHunter.com Updates

On Long City Walks

On long city walks through quiet neighborhood
Shuttered gates widows and windows and
Welcome plats and mats and long indignant
Drives from sandwiched streets tarred to
Cemented Sidewalk ways through clipped
And tapered lawns the hare is unsettled and
Serpentine waters of rain and fritter respectively
Piece mill the vent of their smell of nature’s grace
And human proclivities to waste; wild deer trek

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