So a lot of what went on at Martha Graham was like studying Latin, or book-binding: pleasant to contemplate in its way, but no longer central to anything, though every once in a while the college president would subject them to some yawner about the vital arts and their irresistible reserved seat in the big red-velvet amphitheatre of the beating human heart.

As for Film-making and Video Arts, who needed them? Anyone with a computer could splice together whatever they wanted, or digitally alter old material, or create new animation. You could download one of the standard core plots and add whatever faces you chose, and whatever bodies too. Jimmy himself had put together a naked Pride and Prejudice and a naked To the Lighthouse, just for laughs, and in sophomore VizArts at HelthWyzer he’d done The Maltese Falcon, with costumes by Kate Greenaway and depth-and-shadow styling by Rembrandt. That one had been good. A dark tonality, great chiaroscuro.

With this kind of attrition going on—this erosion of its former intellectual territory—Martha Graham had found itself without a very convincing package to offer. As the initial funders had died off and the enthusiasm of the dedicated artsy money had waned and endowment had been sought in more down-to-earth quarters, the curricular emphasis had switched to other arenas. Contemporary arenas, they were called. Webgame Dynamics, for instance; money could still be made from that. Or Image Presentation, listed in the calendar as a sub-branch of Pictorial and Plastic Arts. With a degree in PicPlarts, as the students called it, you could go into advertising, no sweat.

Or Problematics. Problematics was for word people, so that was what Jimmy took. Spin and Grin was its nickname among the students. Like everything at Martha Graham it had utilitarian aims. Our Students Graduate With Employable Skills, ran the motto underneath the original Latin motto, which was Ars Longa Vita Brevis.

Jimmy had few illusions. He knew what sort of thing would be open to him when he came out the other end of Problematics with his risible degree. Window-dressing was what he’d be doing, at best—decorating the cold, hard, numerical real world in flossy 2- D verbiage. Depending on how well he did in his Problematics courses—Applied Logic, Applied Rhetoric, Medical Ethics and Terminology, Applied Semantics, Relativistics and Advanced Mischaracterization, Comparative Cultural Psychology, and the rest—he’d have a choice between well-paid window-dressing for a big Corp or flimsy cut-rate stuff for a borderline one. The prospect of his future life stretched before him like a sentence; not a prison sentence, but a long-winded sentence with a lot of unnecessary subordinate clauses, as he was soon in the habit of quipping during Happy Hour pickup time at the local campus bars and pubs. He couldn’t say he was looking forward to it, this rest-of-his-life.

Nevertheless, he dug himself in at Martha Graham as if into a trench, and hunkered down for the duration. He shared a dorm suite—one cramped room either side, silverfish-ridden bathroom in the middle—with a fundamentalist vegan called Bernice, who had stringy hair held back with a wooden clip in the shape of a toucan and wore a succession of God’s Gardeners T-shirts, which—due to her aversion to chemical compounds such as underarm deodorants—stank even when freshly laundered.

Bernice let him know how much she disapproved of his carnivorous ways by kidnapping his leather sandals and incinerating them on the lawn. When he protested that they hadn’t been real leather, she said they’d been posing as it, and as such deserved their fate. After he’d had a few girls up to his room—none of Bernice’s business, and they’d been quiet enough, apart from some pharmaceutically induced giggling and a lot of understandable moans—she’d manifested her views on consensual sex by making a bonfire of all Jimmy’s jockey shorts.

He’d complained about that to Student Services, and after a few tries—Student Services at Martha Graham was notoriously grumpy, staffed as it was by burnt-out TV-series actors who could not forgive the world for their plunge from marginal fame—he got himself moved to a single room. (First my sandals, then my underwear. Next it’ll be me. The woman is a pyromaniac, let me rephrase that, she is reality-challenged in a major way. You wish to see the concrete evidence of her crotchwear auto-da-fé? Look into this tiny envelope. If you see me next in an urn, gritty ashes, couple of teeth, you want the responsibility? Hey, I’m the Student here and you’re the Service. Here it is, right on the letterhead, see? I’ve e-mailed this to the president.)

(This is not what he actually said, of course. He knew better than that. He smiled, he presented himself as a reasonable human being, he enlisted their sympathy.)

After that, after he got his new room, things were a little better. At least he was free to pursue his social life unhampered. He’d discovered that he projected a form of melancholy attractive to a certain kind of woman, the semi-artistic, wise-wound kind in large supply at Martha Graham. Generous, caring, idealistic women, Snowman thinks of them now. They had a few scars of their own, they were working on healing. At first Jimmy would rush to their aid: he was tender-hearted, he’d been told, and nothing if not chivalrous. He’d draw out of them their stories of hurt, he’d apply himself to them like a poultice. But soon the process would reverse, and Jimmy would switch from bandager to bandagee. These women would begin to see how fractured he was, they’d want to help him gain perspective on life and access the positive aspects of his own spirituality. They saw him as a creative project: the raw material, Jimmy in his present gloomy form; the end product, a happy Jimmy.

Jimmy let them labour away on him. It cheered them up, it made them feel useful. It was touching, the lengths to which they would go. Would this make him happy? Would this? Well then, how about this? But he took care never to get any less melancholy on a permanent basis. If he were to do that they’d expect a reward of some sort, or a result at least; they’d demand a next step, and then a pledge. But why would he be stupid enough to give up his grey rainy-day allure—the crepuscular essence, the foggy aureole, that had attracted them to him in the first place?

“I’m a lost cause,” he would tell them. “I’m emotionally dyslexic.” He would also tell them they were beautiful and they turned him on. True enough, no falsehood there, he always meant it. He would also say that any major investment on their part would be wasted on him, he was an emotional landfill site, and they should just enjoy the here and now.

Sooner or later they’d complain that he refused to take things seriously. This, after having begun by saying he needed to lighten up. When their energy flagged at last and the weeping began, he’d tell them he loved them. He took care to do this in a hopeless voice: being loved by him was a poison pill, it was spiritually toxic, it would drag them down to the murky depths where he himself was imprisoned, and it was because he loved them so much that he wanted them out of harm’s way, i.e., out of his ruinous life. Some of them saw through it—Grow up, Jimmy!—but on the whole, how potent that was.

He was always sad when they decamped. He disliked the part where they’d get mad at him, he was upset by any woman’s anger, but once they’d lost their tempers with him he’d know it was over. He hated being dumped, even though he himself had manoeuvred the event into place. But another woman with intriguing vulnerabilities would happen along shortly. It was a time of simple abundance.

He wasn’t lying though, not all the time. He really did love these women, sort of. He really did want to make them feel better. It was just that he had a short attention span.