O’Hara’s use of exclamation and apostrophe, performing an attitude toward proper names, toward celebrity and brand, anticipates particularly well the new affective grammars and styles of interactive service work as they have developed in the half century since the publication of Lunch Poems. O’Hara immerses himself in the space of exchange, modeling a pure enthusiasm, an enthusiasm of entirely nominal rather than descriptive contents that offers a particularly salient prefiguration of the affective labors we encounter in today’s service workers, who must at every turn simulate the intimacy, familiarity, and warmth that have fled the icy calculations of the cash nexus, a rapport in the absence of true relation. [...]