Reading [Ebert's online journal] from its beginning is like watching an Aztec pyramid being built. At first, it's just a vessel for him to apologize to his fans for not being downstate. The original entries are short updates about his life and health and a few of his heart's wishes. Postcards and pebbles. They're followed by a smattering of Welcomes to Cyberspace. But slowly the journal picks up steam, as Ebert's strength and confidence and audience grow. You are the readers I have dreamed of, he writes. He is emboldened. He begins to write about more than movies; in fact, it sometimes seems as though he'd rather write about anything other than movies. The existence of an afterlife, the beauty of a full bookshelf, his liberalism and atheism and alcoholism, the health-care debate, Darwin, memories of departed friends and fights won and lost — more than five hundred thousand words of inner monologue have poured out of him, five hundred thousand words that probably wouldn't exist had he kept his other voice.
I guess I have watched my coon descend the tree a hundred times; even so, I never miss a performance if I can help it. It has a ritualistic quality, and I know every motion, as a ballet enthusiast knows every motion of his favorite dance. The secret of its enchantment is the way it employs the failing light, so that when the descent begins, the former is clearly visible and is a part of day, and when, ten or fifteen minutes later, the descent is complete and the coon removes the last paw from the tree and takes the first step away, groundborne, she is almost indecipherable and is a part of the shadows and the night. The going down of the sun and the going down of the coon are interrelated phenomena; a man is lucky in deed who lives where sunset and coonset are visible from the same window. (White, 1977, p. 44)