I heard a story about you: In your first MFA workshop, the professor threw a chapter of your novel-in-progress on the table and said, “This is neo-Faulknerian crap, it’s not why we let you in here, and we’re not going to discuss it.” How did that make you feel?
That’s not quite how it went down, but it’s close enough and better for your telling of it. Anyway, how did it make me feel? It made me feel like a writer of neo-Faulknerian crap, because the man was as sharp a reader as he was interpersonally clumsy. I understood that I needed to find a new way—and my own way—of writing about the South before I could write about it.
So you’re a southern writer?
Well, that’s complicated. My first novel was set during the Siege of Leningrad.