“With all the redemptive, provocative and gritty poetry that flows so effortlessly through his songs, Eamon McGrath has turned his hand to the open page, where his notoriously old soul remains as inquisitive and outraged (and self-destructive) as ever. At once a profound, yearning love story to both the splendour and the dregs of old Europe, Berlin-Warszawa Express offers a booze-fueled, fly-on-the-wall assessment of the pitfalls and the triumphs of the perpetually touring musician, and the end result is simply a beautiful literary offering.” — Joel Thomas Hynes, author of Right Away Monday

“McGrath is not the kind of writer who tidies up after himself. This is a messy book about the messy life of a street-smart musician as he works his way across Europe. Expect broken teeth, blizzards, smashed vodka bottles and hangovers from hell. Beauty, too, in abundance. Whether he is looking inward to his own hopes and plans, or outward at the troubled Europe he is determined to comprehend, McGrath is a powerful observer. He tells the raw truth. An unforgettable read.” — Linda Goyette, award-winning author and journalist

“McGrath’s debut is a tight, vulnerable, trimmed-to-the-bone experience … a playlist of moments that define a life or story.” — Publishers Weekly

“Berlin-Warszawa Express expertly captures the life and mind-set of the starving artist, offering convincing proof that they are more fulfilled than we could ever imagine.” — Exclaim.ca

“[A] booze-sweat, punk-lyrical train ride from the Berlin Wall to points east … Berlin-Warszawa Express goes beyond literary-ruin porn: a wrestle with the European ideal from a region where it is most strikingly new.” — Globe and Mail

“Much more than a party diary, this is no rabid Hunter S. Thompson glorification of excess, though scenes of negotiating safe passage though skinheads in rural Germany by playing Neil Young covers, sliding off a roof into his teeth and getting blind drunk in techno clubs contribute to the book’s charm. But more so do the deep philosophical anthropological questions he poses.” — Edmonton Journal