My mother knocked on the door, said my name. I didn't answer. I tore out the information form in the back of the brochure and started to fill it in. Name: John Richard Papen.

Address: 4487 Mimosa Court; Piano, California. Would you like to receive information on Financial Aid? Yes. And I mailed it the following morning.

The months subsequent were an endless dreary battle of paperwork, full of stalemates, fought in trenches. My father refused to complete the financial aid papers; finally, in desperation, I stole the tax returns from the glove compartment of his Toyota and did them myself. More waiting. Then a note from the Dean of Admissions. An interview was required, and when could I fly to Vermont? I could not afford to fly to Vermont, and I wrote and told him so. Another wait, another letter. The college would reimburse me for my travel expenses if their scholarship offer was accepted. Meanwhile the financial aid packet had come in. My family's contribution was more than my father said he could afford and he would not pay it. This sort of guerrilla warfare dragged on for eight months. Even today I do not fully understand the chain of events that brought me to Hampden.

Sympathetic professors wrote letters; exceptions of various sorts were made in my case. And less than a year after I'd sat down on the gold shag carpet of my little room in Piano and impulsively filled out the questionnaire, I was getting off the bus in Hampden with two suitcases and fifty dollars in my pocket.

I had never been east of Santa Fe, never north of Portland, and – when I stepped off the bus after a long anxious night that had begun somewhere in Illinois – it was six o'clock in the morning, and the sun was rising over mountains, and birches, and impossibly green meadows; and to me, dazed with night and no sleep and three days on the highway, it was like a country from a dream.

The dormitories weren't even dorms – or at any rate not like the dorms I knew, with cinderblock walls and depressing, yellowish light – but white clapboard houses with green shutters, set back from the Commons in groves of maple and ash. All the same it never occurred to me that my particular room, wherever ii "t might be, would be anything but ugly and disappointing and it was with something of a shock that I saw it for the first time – a white room with big north-facing windows, monkish and bare, with scarred oak floors and a ceiling slanted like a garret's. On my first night there, I sat on the bed during the twilight while the walls went slowly from gray to gold to black, listening to a soprano's voice climb dizzily up and down somewhere at the other end of the hall until at last the light was completely gone, and the faraway soprano spiraled on and on in the darkness like some angel of death, and I can't remember the air ever seeming as high and cold and rarefied as it was that night, or ever feeling farther away from the low-slung lines of dusty Piano.

Those first days before classes started I spent alone in my whitewashed room, in the bright meadows of Hampden. And I was happy in those first days as really I'd never been before, roaming like a sleepwalker, stunned and drunk with beauty. A group of red-cheeked girls playing soccer, ponytails flying, their shouts and laughter carrying faintly over the velvety, twilit field.

Trees creaking with apples, fallen apples red on the grass beneath, the heavy sweet smell of apples rotting on the ground and the steady thrumming of wasps around them. Commons clock tower: ivied brick, white spire, spellbound in the hazy distance.

The shock of first seeing a birch tree at night, rising up in the dark as cool and slim as a ghost. And the nights, bigger than imagining: black and gusty and enormous, disordered and wild with stars.

I was planning to sign up for Greek again, as it was the only language at which I was at all proficient. But when I told this to the academic counselor to whom I had been assigned – a French teacher named Georges Laforgue, with olive skin and a pinched, long-nostriled nose like a turtle's – he only smiled, and pressed the tips of his fingers together. 'I am afraid there may be a problem,' he said, in accented English.

'Why?'

'There is only one teacher of ancient Greek here and he is very particular about his students,' 'I've studied Greek for two years.'

That probably will not make any difference. Besides, if you are going to major in English literature you will need a modern language. There is still space left in my Elementary French class and some room in German and Italian. The Spanish' – he consulted his list – 'the Spanish classes are for the most part filled but if you like I will have a word with Mr Delgado.'

'Maybe you could speak to the Greek teacher instead.'

'I don't know if it would do any good. He accepts only a limited number of students. A very limited number. Besides, in my opinion, he conducts the selection on a personal rather than academic basis.'

His voice bore a hint of sarcasm; also a suggestion that, if it was all the same to me, he would prefer not to continue this particular conversation.

'I don't know what you mean,' I said.

Actually, I thought I did know. Laforgue's answer surprised me. 'It's nothing like that,' he said. 'Of course he is a distinguished scholar. He happens to be quite charming as well. But he has what I think are some very odd ideas about teaching. He and his students have virtually no contact with the rest of the division. I don't know why they continue to list his courses in the general catalogue – it's misleading, every year there is confusion about it – because, practically speaking, the classes are closed. I am told that to study with him one must have read the right things, hold similar views. It has happened repeatedly that he has turned away students such as yourself who have done prior work in classics.

With me' – he lifted an eyebrow – 'if the student wants to learn what I teach and is qualified, I allow him in my classes. Very democratic, no? It is the best way.'

'Does that sort of thing happen often here?'

'Of course. There are difficult teachers at every school. And plenty' – to my surprise, he lowered his voice – 'and plenty here who are far more difficult than him. Though 1 must ask that you do not quote me on that.'

'I won't,' I said, a bit startled by this sudden confidential manner.

'Really, it is quite essential that you don't.' He was leaning forward, whispering, his tiny mouth scarcely moving as he spoke.

'I must insist. Perhaps you are not aware of this but I have several formidable enemies in the Literature Division. Even, though you may scarcely believe it, here in my own department. Besides,' he continued in a more normal tone, 'he is a special case. He has taught here for many years and even refuses payment for his work.'

'Why?'

'He is a wealthy man. He donates his salary to the college, though he accepts, I think, one dollar a year for tax purposes.'

'Oh,' I said. Even though I had been at Hampden only a few days, I was already accustomed to the official accounts of financial hardship, of limited endowment, of corners cut.

'Now me,' said Lafbrgue, 'I like to teach well enough, but I have a wife and a daughter in school in France – the money comes in handy, yes?'

'Maybe I'll talk to him anyway.'

Laforgue shrugged. 'You can try. But I advise you not to make an appointment, or probably he will not see you. His name is Julian Morrow.'

I had not been particularly bent on taking Greek, but what Laforgue said intrigued me. I went downstairs and walked into the first office I saw. A thin, sour-looking woman with tired blond hair was sitting at the desk in the front room, eating a sandwich.

'It's my lunch hour,' she said. 'Come back at two.'

'I'm sorry. I'm just looking for a teacher's office.'