It can be taken as a rule of thumb in SF that the boys who can handle the big concepts can't do much else. Examples include Greg Egan, Greg Bear... Well, there may be a rule of thumb about Gregs too, but here comes an Ian to get us back on track.
"The Jonah Kit" is the 'communication with cetaceans' riff on steroids. There's not much of storyline, merely scenes designed to present data, there are no characters, only behavioral tics with names. But those concepts! The first, and most spectacular, is the discovery, through a clever cosmological means I haven't encountered elsewhere, that our universe is a mere reflection of the authentic item, that we're the waterboys of existence, forever cut off from the real game. The second is what the cetaceans do when this fact is communicated to them. They commit mass suicide, every last whale, dolphin, and orca in the deep blue beaching itself in utter existential despair.
Now you may say this makes little sense, and you'd get no argument from me. (The human response is nearly as silly. There is, after all, nothing new in the concept of alienation. Augustine wrote about it in the 5th century, the Greeks even earlier. Most people have developed mechanisms to cope.) But I'd still be inclined to recommend it, if only to a limited audience who can appreciate Watson's ability to sling those concepts.
There's still all those poor dead whales, though, which may well, and understandably, put some people off. Watson has a rep as a tower of humanism. Like many such, he exhibits a streak of pure cruelty evident in much of his work, such as the fate of the protagonist of "The Martian Inca", or the deformed child in "The Embedding". I'm sure there's some rule of thumb that can be derived from that too, if I were to take the time to formulate it.