Your Heart Belongs to Me

was not safe in this third-floor redoubt, no haven existed anywhere within these walls.
    Briefly he considered decamping to a hotel, but indignation at these violations of his privacy swiftly swelled into a righteous anger. He had not lived through a heart transplant only to run like a frightened child from a tormentor whose pranks were sophisticated in execution but insipid in concept, the kind of psycho-movie crap that made teenage girls scream in terror and delight.
    Denied a gun, he went into the retreat to choose a knife.
    The under-counter refrigerator contained not only soft drinks and bottled water, but also items on which he sometimes snacked: a variety of cheeses, a few pieces of fresh fruit.
    A drawer in the bar cabinet contained utensils, including flatware and knives. There were a paring knife to peel the fruit, a standard kitchen knife with an eight-inch blade, and a more pointed knife with a serrated edge.
    He chose the kitchen knife and returned with it to the bedroom. He placed it under the pillow beside his, on which Samantha had not rested her head in a long time.
    Reclining against his mound of pillows, he switched on the TV but pressed MUTE . He watched a sitcom that was no funnier silent than it would have been with sound.
    His mind relentlessly circled a disturbing corollary. If people were conspiring to torment and possibly to harm him now, then the conspiracy he had suspected before his transplant, which eventually he had pretty much dismissed as imaginary, had almost surely been real.
    An element of that conspiracy had been the possibility that his cardiomyopathy had been the consequence of poisoning. So if he had been poisoned then, he should assume that he would be poisoned again, that his new heart would be destroyed like his first.
    If that was true, he probably had been poisoned already. Trusting his new staff, he had eaten and drunk what they served.
    He wondered how long after poisoning the heart-muscle damage manifested.
    Of course the staff might be innocent. If some stranger could come and go from the house at will, undetected, the ingredients of Ryan’s meals might have been poisoned without the involvement of the Amorys or their assistants.
    An alternative assumption and corollary demanded consideration. If the perceived conspiracy and poisoning before his transplant had been imagined, then the current incidents might be imagined, too.
    Indeed, he had nothing—not the raincoat-hooded presence on video, not the pendant, not the candy—to prove that any of these recent, taunting incidents had occurred.
    Before his transplant, he had been on three medications that Dr. Gupta prescribed. Post-surgery, he took twenty-eight. If a drug or combination of drugs could, as a side effect, induce paranoid delusions and hallucinations, he was at greater risk now than he’d been a year previous.
    But he knew that he was not delusional. He knew he was not.
    Simmering anger instead of fear, determination to be the hunter instead of the prey, kept Ryan’s mind circling around the puzzle in an alternately widening and shrinking gyre, circling in search of a single loose thread that when plucked would unravel the mystery into truth.
    Bafflement hardened into frustration, until he wanted to scream to vent his exasperation. Instead, he picked up Samantha’s book for distraction.
    Earlier in the day, he had reached the twenty-seventh of sixty-six chapters in his third reading of the novel. Now, within a single paragraph, Sam’s prose again bewitched him.
    Once, while working on the book, she had spoken of subtext. He knew what that was—the underlying, implicit meaning of the story, which the writer never directly expressed. Not all works of fiction had subtext; perhaps most did not.
    Samantha said that readers did not need to be consciously aware of the subtext to enjoy a story fully, because if the tale had been told well, they would subconsciously absorb the implicit meaning. In fact, the emotional effect of the subtext frequently could be more powerful when the reader was not able to put it into words, when it slammed him hard without his quite understanding by what he had been slammed.
    Subtext could be layered, she said, implicit meanings spread one over another like the delicate layers in phyllo, that flaky pastry used in Greek and Middle Eastern desserts.
    Ryan thought he understood her novel’s primary subtext. But he sensed other layers, the meaning of which he could not infer.
    More