Published in Overland Issue 217 Summer 2014 · Uncategorized The PM and me Mark O'Flynn As a boy with Keating just after the Redfern Speech he looks as soft and innocent as a three day old chick. Keating doesn’t look bad either. He calls me uncle, but that’s a joke. I’m no uncle, though who else is there to ask? He wants to know what the word rapport means, pronouncing the ‘t’. I explain. He asks: ‘So can you have a bad rapport with someone?’ ‘If it was bad then you’d probably have no rapport.’ ‘So rapport is a good thing? Do we have rapport uncle?’ I am startled by the question. ‘I think so. Don’t you?’ ‘Shit yeah,’ and he answers seven across. He tells me when he worked for the fish market they paid him in crabs, which is why he went back and robbed them. Never earned an honest dollar in his life, he declares with misplaced pride in the rite of passage of these years. I find the Keating photo and print it out. He shows it to everyone. Me and the PM. The PM and me. It’s a where are they now moment. A star struck boy ignoring the gravitas and the weighty advice, looking at the PM’s suit. In his mugshot the hardened man, and the eyes of the boy who has seen too much go to waste who wouldn’t be paid in crabs. Mark O'Flynn Mark O’Flynn has published three novels, most recently The Forgotten World (2013), as well as four collections of poetry. His most recent book is White Light (2013), a collection of short stories. More by Mark O'Flynn › Overland is a not-for-profit magazine with a proud history of supporting writers, and publishing ideas and voices often excluded from other places. If you like this piece, or support Overland’s work in general, please subscribe or donate. Related articles & Essays 27 February 202527 February 2025 · ecology Keeping it in the ground: pasts, presents and futures of Australian uranium Nicholas Herriot Uranium has come a long way from the “modern Midas mineral” of the 1950s. However, in an increasingly dangerous, militaristic and volatile world, it remains a lucrative and potentially lethal metal. And it is so important precisely because of its contested past and possible futures. 25 February 202525 February 2025 · the arts Pattern recognition: censorship, control and interference in Australia’s art ecology David Pledger My final thoughts go to the artist and curator who have borne the brunt of this injury. Selection for the Venice Biennale is a significant event for an Australian artist and curator. To be treated so shabbily must cause pain to both. One can only hope the outcry of fellow artists, the solidarity shown by many, and the strong stance of their shortlisted colleagues, provides some succour.