Recent criticism has suggested reading Crane's poems—"The Broken Tower," "My Grandmother's Love Letters," the "Voyages" series, and others—with an eye to homosexual meanings in the text. Queer theorist Tim Dean argues, for instance, that the obscurity of Crane's style owes partially to the necessities of being a semi-public homosexual—not quite closeted, but also, as legally and culturally necessary, not open: "The intensity responsible for Crane's particular form of difficulty involves not only linguistic considerations but also culturally subjective concerns. This intensity produces a kind of privacy that is comprehensible in terms of the cultural construction of homosexuality and its attendant institutions of privacy."