(Print) Use this randomly generated list as your call list when playing the game. There is no need to say the BINGO column name. Place some kind of mark (like an X, a checkmark, a dot, tally mark, etc) on each cell as you announce it, to keep track. You can also cut out each item, place them in a bag and pull words from the bag.
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Anna Karenina (1878) is sweeping, emotional, and devastating.
Middlemarch (1871) is nuanced, wise, and deeply human.
The Catcher in the Rye (1951) is rebellious, raw, and introspective.
The Brothers Karamazov (1880) is spiritual, intellectual, and gripping.
Brave New World (1932) is provocative, dystopian, and chilling.
Invisible Man (1952) is urgent, symbolic, and explosive.
Ulysses (1922) is dense, experimental, and masterful.
Don Quixote (1605) is imaginative, satirical, and enduring.
Crime and Punishment (1866) is brooding, philosophical, and intense.
One Hundred Years of Solitude (1967) is magical, intricate, and unforgettable.
Wuthering Heights (1847) is dark, passionate, and haunting.
Things Fall Apart (1958) is spare, powerful, and culturally rich.
Heart of Darkness (1899) is disturbing, symbolic, and atmospheric.
Ficciones (1944) is cerebral, inventive, and mind-bending.
The Name of the Rose (1980) is intellectual, mysterious, and richly layered.
A Tale of Two Cities (1859) is dramatic, historical, and emotionally charged.
Mrs Dalloway (1925) is introspective, elegant, and experimental.
The Master and Margarita (1967) is bizarre, darkly funny, and brilliant.
Lolita (1955) is controversial, lyrical, and unsettling.
A Passage to India (1924) is complex, elegant, and poignant.
The Handmaid’s Tale (1985) is bold, urgent, and unforgettable.
The Great Gatsby (1925) is haunting, lyrical, and tragic.
Pride and Prejudice (1813) is witty, elegant, and charming.
1984 (1949) is bleak, prophetic, and terrifying.
The Trial (1925) is surreal, claustrophobic, and chilling.
Beloved (1987) is harrowing, poetic, and profound.
Frankenstein (1818) is gothic, tragic, and thought-provoking.
The Sound and the Fury (1929) is fragmented, intense, and poetic.
The Grapes of Wrath (1939) is epic, gritty, and socially conscious.
To Kill a Mockingbird (1960) is powerful, compassionate, and unflinching.
The Stranger (1942) is existential, sparse, and unsettling.
Siddhartha (1922) is spiritual, serene, and wise.
Jane Eyre (1847) is fierce, romantic, and defiant.
