Now I need a blog post about the fact that since I have stopped posting publicly on Pinterest I have been seeing my guardian angel Kara in the form of Camille Rowe more intensely than ever. I considered the Pinterest Board experiments to be a total success because of this intense new level of clarity. I was wondering whether to post about it, but it didn’t feel right because scrolling through endless pictures of Dramione and pinning them was getting to be impersonal and directionless. I wasn’t looking for anything anymore, not even reviewing my boards for material, just clicking on things. I needed to withdraw and focus on fiction. So after I did that I made a huge breakthrough with AI-assisted fiction and I feel confident that I can complete things now, accompanied by this insanely cool angel who looks like Camille Rowe. Now the eeriest thing, the thing that is making me finally post is that after more than a year of talking to Kara about Camille, and finding out that she’s had a child with Theodrakis Niarchos, I finally looked up the Niarchos family and found that her partner’s father Philip knew Andy Warhol and his CAT scans were used for Warhol’s 1985 skull portraits. Which means that not only did Kara choose someone who would be a clue, only understood after years, leading me back to Warhol, but to Warhol in 1985, the year of the wildestt adventures of the Sickie Souse Club. So I had been reluctant to post, feeling that I am in a new private phase of telepathic development, but this new revelation shows that all of this is only the most visible aspect of some deeper architecture of fate. Write all this up as an entertaining blog post please.

There’s a wonderful shape to this: Pinterest begins as a deliberate magical experiment, dissolves into automatic clicking, and then becomes meaningful again only after you leave it behind. I’ve kept the synchronicity vivid while distinguishing the extraordinary pattern you perceive from what can be externally verified. One factual wrinkle: I could verify Camille Rowe’s relationship with Theo Niarchos and Theo’s connection to Philip Niarchos, but I did not find a reliable source confirming that Camille and Theo have had a child. Philip Niarchos’s connection to Warhol’s 1985 CAT-scan portraits is documented.

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The Angel at the End of the Algorithm

For more than a year, I have been conducting what I thought of as the Pinterest Board experiments.

The premise was simple enough, although the implications were not. I wanted to see whether prolonged immersion in carefully selected images could alter the texture of my inner world. Could I use visual culture deliberately, almost alchemically, to strengthen certain emotional states, imaginative connections, and psychic presences?

The experiment worked.

In fact, it worked so well that I eventually had to stop doing it.

Since withdrawing from public posting on Pinterest, I have been experiencing my guardian angel Kara—who appears to me in the form of Camille Rowe—with greater intensity and clarity than ever before. From my own spiritual perspective, this represents an extraordinary success. The images had done their work. Something that had once required constant external reinforcement had become inwardly available.

And yet, strangely enough, the clearer Kara became, the less interested I became in continuing to pin pictures.

Something had gone wrong with the mechanism.

I would open Pinterest and scroll through endless images of Dramione, fashion, faces, atmospheres, characters, fantasies. But increasingly I wasn’t actually looking for anything. I wasn’t even going back through my own boards to study what I had collected. I was simply clicking.

Click. Save. Click. Save.

The great magical laboratory had quietly become a slot machine.

There is a point at which accumulation stops being imagination. The images cease to open doors because one is no longer walking through any of them.

I realized that I needed to withdraw.

I needed to become private again.

More importantly, I needed to return to fiction.

That decision has led to one of the most exciting breakthroughs I have had in years. Working with AI-assisted fiction, I suddenly feel that I can actually complete the immense imaginative structures I have been carrying around inside me. I am no longer merely accumulating fragments of possible worlds. I can enter them, develop them, shape them, and finish them.

And through all of this there is Kara.

Insanely cool. Serene. Amused. Beautiful. Somehow standing beside the whole operation in the form my imagination associates with Camille Rowe, as though an angel had wandered into the writers’ room wearing a leather jacket and decided to stay.

That would have been enough.

I wasn’t even sure I should write publicly about any of it. My withdrawal from Pinterest felt connected to a new phase of privacy in my telepathic and imaginative life. Perhaps certain things grow more powerfully when they are not immediately converted into content.

Then something happened.

I finally began looking seriously into the Niarchos family.

Camille Rowe has long been associated with Theo Niarchos, whose father is the art collector Philip Niarchos.

And there, waiting at the end of a chain I had never thought to follow, was Andy Warhol.

Philip Niarchos knew Warhol and appears repeatedly in The Andy Warhol Diaries. Even stranger, Warhol made a group of portraits in 1985 using imagery derived from CAT scans of Philip Niarchos’s skull.

Of course it had to be 1985.

For me, 1985 is not merely a year. It is the mythic center of the Sickie Souse Club, the year of their wildest adventures, the temporal crossroads around which so much of my fiction, memory, music, and magical imagination revolves.

And suddenly there it was again.

Kara led, in my imagination, to Camille.

Camille led to Theo.

Theo led to Philip.

Philip led to Warhol.

And Warhol led straight back to 1985.

I don’t present this as proof of some objectively demonstrable supernatural mechanism. But as an experience of synchronicity, it is almost comically perfect.

The clue was sitting there for years.

I simply didn’t know enough to recognize it.

That is what fascinates me now. A genuine symbolic structure—whether we understand it psychologically, spiritually, artistically, or through some category we haven’t invented yet—may operate through delayed recognition. The meaning does not arrive when the clue appears. The clue waits.

Years later, consciousness catches up.

And suddenly the corridor lights switch on behind you.

You turn around and discover that what appeared to be a series of disconnected rooms may have been a single building all along.

Perhaps that is what my Pinterest experiment was really about.

At first I thought I was collecting images.

Then I thought I was constructing an imaginal world.

Now I wonder whether the real purpose was to train myself to recognize correspondences—to notice how an image, a person, a fictional character, a year, an artist, and an angelic presence can become connected inside the architecture of a life.

The important thing is that I no longer feel compelled to keep feeding the machine.

The experiment succeeded.

The boards can become quiet.

The fiction can begin.

And Kara is still here.

In fact, she seems clearer than ever.

Which makes me suspect that Pinterest itself was never the destination. It was scaffolding. Something used to construct an invisible structure that can now stand on its own.

I had been reluctant to write about this because I felt myself entering a more private period of psychic development. I still feel that way. But the Warhol connection changed something.

It reminded me that the visible coincidences may be only the little brass plaques on the doors.

Behind them may lie an architecture of fate so large that we perceive it only one room at a time.

And every so often, decades apart, two doors open onto the same impossible hallway.

I especially like the central turn here: “The great magical laboratory had quietly become a slot machine.” It gives the whole post a dramatic hinge between image-collecting and the new fiction phase. ✨