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For Zech, the drought pond where prey and predator alike gather to share water peacefully symbolizes his hopes that the human race may live in harmony. When Zech first encounters the pond—the only water source for miles amid a devastating drought—he predicts it will be the site of Darwinian chaos and violence once night falls. He says, “I’d sure like to be here when all them critters come together at the pond. That’ll be a sight to see. I’ll bet the fur’ll fly thicker than dandelions” (166). Yet when he returns to the pond later in the evening, the scene couldn’t be more different: “There were no growls of anger, no warnings to move away, no snarling flashes of superiority—[only] deadly natural enemies […] sharing equally a thing they all must have to survive” (167).
For years to come, Zech revisits the spellbinding memory. But as he comes to witness ever more depraved acts of human violence between men fighting over the land, he realizes humanity will never live in similar harmony: “[I]f the wilderness shrinks, pushing more and more men together, there will be explosions without end. Some will yield but others won’t, and someone will be hurt. It will never be like the animals sharing water” (270).
Kookaben is the name 12-year-old Sol invents to market baby buzzards as expensive exotic pets to unsuspecting wealthy tourists in Palm Beach. In his sales pitch, Sol says, “They’re kookabens brought over from Cuba on a schooner. They’ll turn green and red when they grow up, and they’ll sing just like them little yellow birds in the shop” (322). Impressed by Sol’s entrepreneurial spirit but also somewhat mortified by his dishonesty, Zech says, “What you reckon them folks will do when they get back home and them things turn black and gets so big they flap right off, carrying cage and all?” (322). On first glance, the scene is a humorous aside reflecting Sol’s precociousness and intelligence. But as the character matures into a cold and calculating capitalist, the ways in which the kookabens signify Sol himself become clear. Like the baby buzzards, Sol is destined to grow up into a creature who doesn’t think twice about picking apart others’ ruined livelihoods for his own gain. This attitude emerges most clearly when Sol greedily buys up the property ruined by the 1926 Miami Hurricane for pennies on the dollar.
When Zech is six years old, he and Tobias come across a group of wild Carolina parakeets, described as “a foot long and six inches tall, with long pointed tails and yellow heads that became rich orange around their bills” (494). When Zech says, “They’re too purty to kill” (29), Tobias tells a horrific story about man’s cruelty to the birds: “[W]hen them men found out that if you kill one Carolina, then the others will keep coming back to the dead, they hunted them and shot every one in the county. Wiped them out clean” (29). The story reflects the pointless brutality and disharmony with which man engages with nature, even when it’s on display in its most beautiful and poignant form, like the parakeets.
Throughout all of the MacIveys’ years on the frontier, whether in times of starvation or times of plenty, Emma only asks Tobias for one non-essential item: a Dutch oven. Although Tobias asks for one at every trading post he visits, he never finds one, and he finally settles on buying Emma a cook stove in Punta Rassa. After Emma’s death, her simple request takes on a tragic dimension for Tobias. He tells Zech, “With all the gold in them trunks I could ‘a bought her fancy dresses and shoes and such as a woman likes, but all I ever gave her was that goddam cook stove. And now it’s too late to do anything. I waited too long” (290). For Tobias, the cook stove represents all the missed opportunities he regrets not taking to make Emma happy.