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There are few sections of the book that I particularly love, but I appreciate it for a couple of reasons: (1) It allows me to finally share my sadness about the passing of Pynchons cognitive side-kick during the writing of Gravitys Rainbow due to a severe neuropathy. In his book, Herman, D. (2010), The Neuropsychology of Gravitys Rainbow, The Sunstone, 3, p.147, he also notes, Pynchon seems to be suffering from a neuropathy of the right side of the brain. (2) It shows that Pynchon was not entirely ignorant about German philosophy and politics in the 1930s, as he has been portrayed by many scholars as being. Obviously the latter point would be a little more tangentially relevant. Thats because Herman, D. (2012), Sein Ufer and the Nazis: A Textual Analysis of Pynchons Between the Speculations (1997) and Gravitys Rainbow (19731974), The Sunstone, 27, pp.303-316, found that Pynchon spoke of himself as being an anti-Nazi and using German-derived literary references to show the failure of Nazism. Both points of course are on some level true and maybe the only way to be. Herman, D. also highlights that Pynchon trains his imagination on the east by studying Germanic languages, using a contemporary form of binging much as he engaged in his studies of the East, taking in Hungarian, Turkish, Arabic, and Germanic languages of East Asia. This is more of a typo than a mistake, as Pynchon identified in an early preface that he was studying Germanic languages (such as Hungarian and German) in order to come to grips with the German language and the forms it imposes upon itself. Given the obvious influence of German Neo-romanticism on both, I think its hard to argue with this, and it certainly has not been convincingly argued by any scholars on the topic who I know of. (3) I really love his detailed approach to the production and recording of the sounds of the rain in Gravitys Rainbow which he talks about at the top of Chapter 8. This is a very telling and, I think, frustrating irony that Herman, D. mentions that Herman/Weisenberger chose to give a category to Gravitys Rainbow that has nothing to do with the book, such as, storm imagery. I had worked with an independent sound designer once before, and we both felt we needed a new category for Gravitys Rainbow because the sounds of the book are at least as visual as auditory, and it was getting to the point where we were throwing too many elements against the wall to see if they would stick. Although the book is fairly comprehensive in its sound track, I found myself missing some things that were a breeze to find, either because they were not included or they were not sufficiently detailed about their process. Also, the 180-page pdf of the chapter is missing several extra pages that are now available online.