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expense of our neighbor, Mr. Muckle, although he was an estimable gentleman with nothing funny about him except the name." When Fields was appearing in Boston, he always mentioned the settlements of Nahant or Scituate ; in Pittsburgh it was East Liberty; in Providence, Woonsocket; Los Angeles, Cucamonga; New York, Ganarsie; Chicago, Winnetka; Portland, Kennebunkport ; Detroit, Hamtramck; and Philadelphia, Manayunk.
"For reasons I have never understood," he told Garie, "Alexandria, Virginia, is screamingly funny to Washingtonians, while the great city of Oakland never fails to get a chuckle out of San Franciscans. And Bismarck, North Dakota, is funny anywhere in the United States."
During a great part of his life, Fields kept a file of odd names that he ran across in his travels. He used many of them. "Charles Bogle," the pseudonym he preferred, and the one which turned up most frequently among the credits for his pictures, was the name of a bootlegger of his acquaintance. Bogle, a large, affable man, without the quick facility for lawsuits that was to characterize the generation that followed, enjoyed his literary standing. "I used your name on some of those movies of mine, Charlie," Fields said he told him once. "You ever see them?"
"I can't say as I have, Mr. Fields," Bogle replied. "The missus and I don't care for the films. Father Dunlavy says they're immoral."
Fields pressed a couple of passes to International House on him, and, it being a quiet night for bootlegging, Bogle relaxed his principles and took his wife to the theater. He was filled with pride. During the credits, when his name appeared, he nudged a neighbor diffidently and murmured, "You'll notice my name, sir? A collaboration with Mr. Fields." Thereafter he became so stuck up about the Bogle works that he was almost ruined for a bootlegger
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