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Poor Indians, especially rural ones who live with their tribes, are more likely to retain traditional patterns of ethnic behavior, whereas generally speaking, an Indian banker living in the suburbs is likely to live pretty much as his white neighbor does.
Also contributing to the depiction of the characters of the early novels is the archetype of the trickster, the most important culture hero to the Indians of North America.
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Native American Renaissance, a controversial term, is frequently used to describe the explosion of literature created after the 1960's by Native American writers of fiction.
In the past five years, with what might be called the second generation of novels, Indian fiction features middle-class protagonists, Indians in the professions.
The Crown of Columbus, by Louise Erdrich and Michael Dorris, depicts the adventures of a mixed-blood professor at an Ivy League university.
He drifts through life, cruising bars, picking up women, losing fights.
At the climax of the novel the hero discovers the identity of his grandfather, the man who kept his grandmother alive during the great Blackfeet famine.
He is found far more often in a bar than in an office; he is traditionally a drifter who is usually out of work and often in jail. This is the Heyoka a character in Native American literature who is also called the “trickster.”In general, the first generation of novels of the Indian Renaissance is about tribal identity.
The structure of Momaday's House Made of Dawn is based on Abel's quest to find his place in the tribal community in which he was raised, Walatowa Pueblo.