"Zorba the Greek resists easy definition. Like the Odyssey and Don Quixote, it is nearly plotless but never pointless. Like the heroes of those fictional sagas, its hero, Alexis Zorba, casts a larger shadow on the world than the world does on him. … Who is Zorba? He is Everyman with a Greek accent. He is Sinbad crossed with Sancho Panza. He is the Shavian Life Force poured into a long, lean, fierce-mustached Greek whose 65 years in the Mediterranean sun have neither dimmed his hawk eyes nor dulled his pagan laughter. … Zorba is a great unbeliever in everything but the abundant life. Pockmarked with bullet scars, he has no faith in war. Full of reverent awe before the universe, he cannot stomach organized religion or priests ("[They] even fleece their fleas"). Child of instinct, Zorba defines the hours as if he had created them. "Daytime is a man," he explains, "night is a woman." On many a night Zorba heads for the home of Bouboulina, a blowzy, scow-bottomed "old siren," once the darling of admirals and of fleets. When his boss refuses to make love to a young, appetizing widow, Zorba warns him: "Every man has his folly, but the greatest folly of all ... is not to have one." The boss takes Zorba's advice to heart and the young widow to bed. Meanwhile, Zorba never misses a chance to ask such puzzlers as: What is a woman? Who made the stars? Why do men die? The boss's widow is murdered by puritanical peasants, Bouboulina dies, the lignite mine fails — and all these calamities lead to the heart of Zorba's message: live as if one were to die the next minute. Zorba is too full of juice to die onstage. Author Kazantzakis tries to kill him off in a letter. His last words: "I've done heaps and heaps of things in my life, but I still did not do enough . . . Good night!" But Author Kazantzakis reckons without his own talent. He has created Zorba, but he cannot kill him."