In Toni Morrison’s 1973 novel Sula, published by Alfred Knopf at a time when “Black Power” commingled with Blaxploitation and Black revolution, three generations of impoverished Black "whores"—the third generation being educated, city-dwelling and experienced with “White men”—confront each other and their interior mysteries within their grand pre and post-Depression Ohio mansion. How is the home still standing? Who has passed through it? Who dies off within it? Who returns to claim it? Why are all levels occupied by vestiges of characters we would love to know better but almost hate to know at all—