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Damien Freeman Damien Freeman i(A147199 works by)
Born: Established: 1976 Sydney, New South Wales, ;
Gender: Male
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Works By

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1 1 y separately published work icon The Aunt's Mirrors : Family Experience and Meaningfulness : A Memoir Damien Freeman , Blackheath : Brandl and Schlesinger , 2014 7969026 2014 single work autobiography

'On the top shelf in his aunt's dressing room, Damien Freeman discovered a collection of family memorabilia that told a story he had always assumed to be perfectly unexceptional. The Aunt's Mirrors reveals an unexpected story of how an immigrant family from Poland made a new life - whilst continuing an old one - in 19th century Beechworth, Grafton, Rylstone and Sydney through the shared sense of meaningfulness that permeated the lives of seven generations of this Australian Jewish family. ' (Publication summary)
1 3 y separately published work icon Roddy's Folly R. P. Meagher QC - Art Lover and Lawyer Damien Freeman , Ballan : Connor Court Publishing , 2012 Z1862750 2012 single work biography 'Roddy Meagher's legacy as barrister, scholar, wit, and aesthete is legendary. When he retired from the NSW Court of Appeal, the Chief Justice, Jim Spigelman, praised him as "the widely loved judge of his time" and "one of the intellectual giants of our legal history". Yet Aboriginal magistrate, Pat O'Shane, claims to "know nothing good about him" and threatened to refer him to the Judicial Commission for a lifetime of "sexist, racist and homophobic" statements. Freeman's biography is the first book-length study of the life and work of R. P. Meagher QC. It considers his relationship with the Roman Catholic Church, the University of Sydney, the Australian Bar, and the tradition of legal scholarship to which he made a monumental contribution. In doing so, Freeman tries to get inside the mind of the man, and offers an analysis of Meagher's attitude to feminism and political correctness, as well as his place in Sydney's bohemian and establishment circles. This discussion is set within an account of his marriage to the painter, Penny Meagher, and the central place of art in their life together: for her as artist; for him as art collector. Roddy's Folly draws on Meagher's personal papers, to which Freeman had unrestricted access, as well as interviews with such eminent Australians as Sir Laurence.' (Publisher's blurb)
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