The motif of birds—specifically non-birds of prey—is significant in the novel. In their ability to travel long distances, birds represent a far-reaching network of other victims of tragedy, emphasizing Shared Tragedy as a Building Block of Community. This motif is thus first developed during Carlos’s visit to Esperanza, when Carlos follows “three Argentine goldfinches” toward the Sternbergs’ ranch (74). In leading Carlos to the Sternbergs, the finches have helped him forge an unlikely connection, made meaningful by a similar experience of tragedy. Without the finches’ almost supernatural intervention, Carlos may have kept driving on, forfeiting an opportunity for friendship, understanding, and a new perspective with which to develop his gift. 

In addition to their suggestion of community, birds also reflect resilience. On their ranch, Amos and Sara Sternberg host a variety of birds, such as “parrots, macaws, and dozens of goldfinches” (75), and trace their interest back to their imprisonment at Auschwitz. There, the birds had landed on the electrified fences, only to vanish in “bright bursts of flame and smoke” (79). However, much to the Sternbergs’ surprise, the birds adapted, avoiding the camp entirely. Thinking back, Amos credits the birds as “sensitive to evil” and senses their relevance as “signs” (79): Watching the birds, the Sternbergs could understand the potential for survival.