From a William Eggleston book. (Which?)

Clockwise from upper left:
Tennessee, 1985
Atlanta, Georgia, mid 80's
Massachusetts, mid 80's
Near Minter City and Glendora, Mississippi, 1969-70

"I'm not exactly sure that anything means 'Southern' for me. I like to look, and look around, and the South is one place I am most of the time, which means that obviously what I see around me are Southern things, but I've always tried to take that out of my photographs and make them more...not based in a place. I don't see my works as 'Southern works'. ... I'm trying to – working either in the South or in a foreign environment – essentially take the same picture, which is the picture I believe in and is illustrative of my kind of working."

From this interview of Eggleston. But then John Szarkowski in his introduction to William Eggleston's Guide:

"Artists themselves tend to take absolutist and unhelpful positions when addressing themselves to questions of content, pretending with Degas that the work has nothing to do with ballet dancers, or pretending with James Agee that it has nothing to do with artifice. Both positions have the virtue of neatness, and allow the artist to answer unanswerable questions briefly and then get back to work. If an artist were to admit that he was uncertain as to what part of the content of his work answered to life and what part to art, and was perhaps even uncertain as to precisely where the boundary between them lay, we would probably consider him incompetent.

"I once heard William Eggleston say that the nominal subjects of his pictures were no more than a pretext for the making of color photographs - the Degas position. I did not believe him, although I can believe that it might be an advantage to him to think so, or to pretend to think so. To me it seems that the pictures reproduced here are about the photographer's home, about his place, in both important meanings of that word."