Belqis Soleimani constructs her fictional world based on the geography of her birthplace, Kerman. This research examines how Kerman is represented in her eight books using a descriptive-analytical method and qualitative content analysis of over 1,350 textual examples. The findings indicate that Kerman transforms into a "multi-centric fictional world." Gouran, with 800 references (59% of total references), is the most frequent central location, appearing in four books ("I am Afraid of Gouranis," "Payadeh," "Tahareh's Night," and "Those Mothers, These Daughters"). It is represented as a character in opposition to Tehran, as the origin of bitter memories and the "borderline human." Shamsabad, with 450 references (33%), ranks second, appearing in three books ("The Last Game of Banu," "Dogyears," and "Auntie's Game") as the setting of secrets and the underground world, also in opposition to Tehran. Ibrahimabad, with 100 references (7%), appears in "Welcome to Hades" as the sacred origin of ancestors. "Those Mothers, These Daughters" with 485 references (36% of total references) is the most place-representative book. Analysis of the five layers shows the cultural layer (37%) and the human-architectural layer (26%) are the most frequent, while the identity layer (11%) with the concept of "borderline human" is among the most prominent semantic layers. The conclusion is that Kerman serves as an identity-forming and destiny-determining element for the characters in Soleimani's works, and the author, by creating this multi-centric world, has presented an innovative model of regional writing in Iran.