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In fiction, too, after the death of Cooper the main tendency for nearly a generation was away from the conquest of new borders to the closer cultivation, east of the Mississippi, of ground already marked.

If you write a book about a bygone period that lies east of the Mississippi River, then it's a historical novel. If it's west of the Mississippi, it's a western, a different category. There's no sense to it.

The South is full of memories and ghosts of the past. For me, it is the most inspiring place to write, from William Faulkner's haunted antebellum home to the banks of the Mississippi to the wind that whispers through the cotton fields.

I didn't come east of the Mississippi for the first time in my life until I was 26 years of age, but I knew. I read magazines, I listened to radio, I watched television. I knew there was something out there, and I wanted a part of it.

I've always been fascinated by the Mississippi River and the way of life in these small river towns.

The valley we lived in could easily be the setting for a fantasy novel or a prairie western novel. It could be anything.

When we have a favorite writer, it's always the places where they grew up, lived, worked, and that they recreated on the page that we most want to visit and commune with. Faulkner's Mississippi, Raymond Chandler's Los Angeles, etc. The mind of the reader longs to be somewhere, not just anywhere, and certainly not nowhere.

Faulkner came from my region and taught me how you could write about a place.

I was always very aware of the nature of the place where I was growing up in Gulfport, Mississippi, how that place was shaping my experience of the world. I had to go to the Northeast for graduate school because I felt like I had to get far away from my South, be outside it, to understand it.

Mark Twain gave us an insight into the life on the Mississippi at the turn of the century.