Writers of memoirs and biographies have the same difficult problem to deal with. There is a fine line between giving too much detail for the work to be interesting or not telling enough. (I once read a biography of Aldous Huxley written by his niece that told everything he did every single day but gave absolutely no insight into him as a person, for example, his opinions or the conversations he had with other people.) When you are writing a memoir, you have the additional difficulty of drawing the line between what should remain private and keeping readers’ interest.

In reading Life Itself, Roger Ebert’s memoir, I admit to feeling a little frustrated at times about the level of information provided while at the same time recognizing Ebert’s intent to be open. I certainly wouldn’t want to read a tell-all, because I think the world is unfortunately losing its sense of privacy, but although his memoir forthrightly confronts some issues like alcoholism in the family and his own physical problems, it seems to skip over certain periods of his life.

Ebert chooses an unusual organizational approach to his memoir. Instead of going chronologically (although the book is roughly chronological), he writes each chapter on a different topic, as if it were a series of essays. And perhaps the book originated with some of the blog entries and articles he has been writing for years. This approach made it sometimes repetitive and sometimes seem like little more than impressions and lists of things and people. Of course, it has some delightful chapters, especially the nostalgic ones about his youth.

Perhaps because Ebert is trying to protect other people’s privacy, aside from his family he hasn’t written very much about ordinary people in his adult life but a lot about the famous ones, which gives a bit of an impression that Ebert is a name-dropper (even though I don’t think he is). For example, although the information about his adult ordinary life is limited (though he writes a lot more about his life since his illness), the book contains complete chapters about famous people he interviewed only once or twice. You can’t help having the impression, time after time, that Ebert has really gotten a kick out of hanging out with famous people.

Again, this skewing gives me another reason to suspect that many of these chapters originated as blog entries and articles he has written over the years. Because of this aspect of the book, it may be more likely to appeal to people who are fascinated by everyone in show business than those like me who think famous people are just ordinary people who happen to be famous and wish everyone would leave them alone.

(As sort of an anti-intuitive “proof” of this idea, I point out the reviews on Amazon. The people who disliked the book criticize it for spending too much time on his childhood and youth, which I thought was the interesting part, and not enough time talking about famous people. In other words, they want even more information about famous people than he provided, whereas I wanted more about him as a person. Perhaps they don’t understand the point of a memoir.)

The chapters on Gene Siskel and Ebert’s wife Chaz are touching. The book is, of course, very well written. We have a lot of sympathy for Ebert’s condition–a talker who is unable talk–and come away from the book believing he is handling it with dignity and an amazing optimism. My overall impression of Ebert from this book was that he went through a lot of his life being pleased with himself for his own intelligence (and must have been extremely annoying to some of his teachers in school and professors in college) and the luck he has had in his career, but that–as he himself admits–he has finally learned later in life about what is most important.

This review sounds like I did not enjoy the book. I enjoyed it but also found it frustrating at the same time.