There is no one more likely to destroy us than the person we marry. - Alain de Botton

We are tempted to believe that certain achievements and possessions will give us enduring satisfaction. We are invited to imagine ourselves scaling the steep cliff face of happiness in order to reach a wide, high plateau on which we will live out the rest of our lives; we are not reminded that soon after gaining the summit, we will be called down again into fresh lowlands of anxiety and desire.

Socrates, on being insulted in the marketplace, asked by a passerby, “Don’t you worry about being called names?” retorted, “Why? Do you think I should resent it if an ass had kicked me?”

I passed by a corner office in which an employee was typing up a document relating to brand performance. … Something about her brought to mind a painting by Edward Hopper which I had seen several years before at the Museum of Modern Art in Manhattan. In New York Movie (1939), an usherette stands by the stairwell of an ornate pre-war theatre. Whereas the audience is sunk in semidarkness, she is bathed in a rich pool of yellow light. As often in Hopper’s work, her expression suggests that her thoughts have carried her elsewhere. She is beautiful and young, with carefully curled blond hair, and there are a touching fragility and an anxiety about her which elicit both care and desire. Despite her lowly job, she is the painting’s guardian of integrity and intelligence, the Cinderella of the cinema. Hopper seems to be delivering a subtle commentary on, and indictment of, the medium itself, implying that a technological invention associated with communal excitement has paradoxically succeeded in curtailing our concern for others. The painting’s power hangs on the juxtaposition of two ideas: first, that the woman is more interesting that the film, and second, that she is being ignored because of the film. In their haste to take their seats, the members of the audience have omitted to notice that they have in their midst a heroine more sympathetic and compelling than any character Hollywood could offer up. It is left to the painter, working in a quieter, more observant idiom, to rescue what the film has encouraged its viewers not to see.