PHOTO: Giancarlo Roversi, the creative force behind the Pulstar Trilogy, transforms literature into an immersive experience, where science fiction, music, and philosophy converge in a breathtaking narrative journey.
A Visionary Blending Music and Literature
Giancarlo Roversi, award-winning author of the Pulstar Trilogy, discusses his journey from musician to writer, the challenges of translation, his cinematic storytelling style, and how philosophy and music shape his dystopian universe.
Giancarlo Roversi is a rare breed of storyteller—one who fuses literature, music, and technology into a singular artistic vision. Born in Venezuela, Roversi’s journey has been anything but conventional. A computer engineer by training and a musician who has shared the stage with legends such as R.E.M., Oasis, and Duran Duran, he has brought the same precision and passion to his writing as he did to his career in music. His Pulstar Trilogy and its prequels stand as a testament to his boundless creativity, seamlessly blending philosophical inquiry, dystopian science fiction, and an immersive cinematic narrative.
But Roversi’s genius doesn’t stop at the written word. His novels are accompanied by original soundtracks, elevating the reading experience into something far more profound—an artistic symphony that resonates beyond the page. Translating his works from Spanish to English was no small feat, but his dedication to ensuring that every nuance remained intact only underscores the depth of his commitment to storytelling.
In this exclusive interview, we dive into the mind of one of the most intriguing voices in contemporary science fiction, exploring the influences behind his work, the challenges of world-building, and the unique ways in which his background in music and technology have shaped the Pulstarverse. Join us as we uncover the philosophy, the artistry, and the relentless pursuit of innovation that define Giancarlo Roversi’s extraordinary literary journey.
Roversi is a masterful storyteller whose Pulstar series blends profound philosophy, gripping dystopian narratives, and immersive music to redefine science fiction’s artistic boundaries.
How did your background as a computer engineer and musician influence the development of the Pulstar series?
First, thank you so much for this opportunity to talk about my work. I studied Computer Engineering practically obliged. That’s why I endeavored to finish my university studies in three years instead of five. Afterward, I worked for several years in companies like PDVSA (Venezuela) and P&G. My experience there inspired one of the main characters in Pulstar I and some of its subplots. Knowing about computer technology helped me learn about music production DAWs, which I used to study in any free time I had in my job back then.
Could you elaborate on the process of translating your manuscripts from Spanish to English? What challenges did you encounter?
Phew, translating these books has probably been one of the hardest things I’ve ever done. It’s been so much work and effort that sometimes I wonder if I made the right decision. The key problem was this. When I translated the first books (Marlenh – Nerve – Pulstar I), the Spanish texts weren’t ready, so these translations were useless. I had to rewrite over half of each book and almost seventy percent of Pulstar I. Then, I went back to translate them, and two excellent editors improved the English versions significantly. Based on that, I rewrote the Spanish versions, synchronizing the text with its professionally edited English version. That means analyzing sentence by sentence in English and Spanish simultaneously. Precisely, I am now doing this work for Pulstar III, the book that concludes the Pulstar trilogy.
“Translating these books has probably been one of the hardest things I’ve ever done.” – Giancarlo Roversi
What inspired you to compose a soundtrack for each book in the Pulstar series, and how do you envision readers engaging with this music?
Wow, thank you for this question. Alright, I’ll try to be brief. The music I listen to the most is the OSTs of movies and series. Also, I’ve been trying to develop a writing style that is as cinematic as possible, so creating soundtracks for each book is really like a dream for me. I always listen to music when I write; this has influenced my prose. How about that? Also, reading with music is a very different experience than reading silently. The songs I’ve been composing mirror how I feel about a specific scene in the book. However, the emotions might be otherwise for readers, and I think that’s terrific.
In Pulstar I: The Swan Barely Remembers, you explore complex themes of identity and memory. What personal experiences or philosophical inquiries influenced these themes?
Another powerful and hard-to-boil-down question. I’ll do my best. The idea for Pulstar came up at a family gathering when I was a teenager, and it has not left me since. I’ve been sculpting it until it has become (humbly and baselessly) my philosophy of life and what I believe may be an answer to our existence, our place in the cosmos, and the place of other species. Once, a great friend of mine suggested making a religion based on such concepts. Hehe. Can you imagine? It might be tempting financially, but the world doesn’t need another apocryphal religion.
The major influence of these beliefs comes from asking ourselves deeply about the world we live in, the political, social, and economic rules, and, most importantly, our little understanding of the cosmos thanks to science, especially cosmology.
Pulstar II: Meadows of Involution delves into dystopian and philosophical elements. How do you balance intricate world-building with character development in this sequel?
World-building progressed as I wrote new drafts and worked with one of my editors, a great Fantasy and Science Fiction author. As a result, I’m now creating the Astralvo language. It gives me a lot of laughs. I’ve designed the main verbs, the tenses, the pronouns … It’s a lot of fun.
What I like most in a story, no matter the genre, is character development. So when I’m having too much fun crafting words, cities, and whatnot, I always try to pull the brakes and jump back into the characters’ heads. Sometimes, I can’t believe I’ve been in the thoughts of these characters for over thirteen years.
Your works have been compared to those of Philip K. Dick. How do you view these comparisons, and what do you believe sets your writing apart in the science fiction genre?
Oops, how can I answer this? Let’s see, I adore Philip K. Dick, and to be compared to such a genius is an honor I don’t deserve.
I don’t know what could set my books apart from many prominent writers in this genre and others. I would say this project has taken me over a decade, merging literature with music and giving a message with a lot of passion and honesty, hoping that it will connect with other people.
As a musician who has performed with renowned artists like REM and Oasis, how do you integrate musical elements into your storytelling, and do you see any parallels between composing music and writing novels?
Excellent question. I wasn’t expecting it.
Since I write while listening to soundtrack music, it often influences the tone. Still, I almost always have a suitable playlist according to the emotion I want to convey. For instance, the last part of the Pulstar III Pulstar trilogy is my favorite of the entire saga. To write the drafts of this last part, I created a playlist with my favorite songs; they would get me in the zone right away.
Also, I love that in some scenes of the books, the music is in the background of what is happening to the characters, like an OST embedded in the text.
What advice would you offer to aspiring authors aiming to blend multiple artistic disciplines, such as music and engineering, into their writing careers?
My humble advice would be to be well organized without barriers to all they can create. Ideally, each artistic universe should work on its own, and by bringing them together, you could create another kind of experience that should be appealing as well.
