Birds, especially birds in cages, are mentioned several times in The House of the Spirits, and they represent the oppression of women in patriarchal society. During the mid-20th century, women of the unnamed South American country where the book takes place are confined to a very specific role within the domestic sphere, and they are denied the right to vote or control their own bodies. Furthermore, women are frequently the victims of domestic violence and sexual assault, and they are completely dependent upon men—often the same men who abuse them. This oppression is reflected in the caged birds that Clara keeps in the courtyard of the big house on the corner. Clara, who resists the oppression of her sexist society in any way she can, meticulously tends to the birds, and when the family goes to Tres Marías, their country hacienda, she refuses to leave them behind. In this vein, Clara’s birds represent the oppression of fellow women, and Clara supports and stands with them in solidarity.
After Esteban is wounded in the massive earthquake that destroys Tres María and it is unclear if he will survive, Clara returns to the big house on the corner with her daughter, Blanca, and releases the birds from their cages. Without her husband, Clara will no longer be subjected to his controlling and abusive behavior, and the flying birds represent her own potential freedom. Esteban does survive and recover, however, and Clara soon replaces the birds, which again reflects her own confinement under his control. At the end of the novel, long after Clara dies, her granddaughter, Alba, survives repeated torture and rape during the military coup d’état. After Alba is released, she buys new birds for the cages and puts a caged canary in Clara’s room, where Alba writes and pieces together her family’s history using her grandmother’s notebooks. The presence of the caged birds at the end of the novel metaphorically represents the continued oppression of women in patriarchal society, which remains widespread even during Alba’s time.