Tsvetaeva and Parnok, identifying Tsvetaeva's "woman friend" in her Girlfriend () cycle for the first time. Even after the surge of interest in banned Russian poets through Glasnost policies brought about by Perestroika, Parnok remained obscure to most Russians and the Russian diaspora. Her colleagues and contemporary poets were all rehabilitated before she was. Parnok believed the obstacle was her lesbianism, though there is no way to document why censorship of her works remained. A memorial plaque dedicated to the Parnokh family was placed on the wall of her birth house in Taganrog in 2012. Poems by Parnok were set to music, recorded on a CD and performed by Elena Frolova in 2002, as part of the "AZIYA +" project. Works Parnok’s works are filled with the timbre of tragedy and the melody of coincidence. Her first poem was printed in 1906 and her last, the week before her death. Her first collection Стихотворения (Poems) was published in 1916 and her last book of works Вполголоса (Half-Whispered or In a low voice) was published in 1928. She created five books of poems, more than 30 critical essays, and several translations. Sofia Polyakova, editor of Parnok's Collected Works, preserved 261 of her poems. Because she chose to live openly and write about her relationships with seven women – to each of whom she dedicated several poems – she came to be called the "Russian Sappho". Much of the scholarly work focused on Parnok has centered around the period of her relationship with Tsvetaeva; yet, many of her "best poems" were created after 1928. Nearly 100 poems, written between 1928 and 1933 were never published until long after her death. Poems from her Vedeneyeva period reflect both material and spiritual intake and musical and creative output. They incorporate the themes running through all her works: "anguish, poetry, the elements (wind, water, earth, fire), heat and cold, illness, madness, remembering, and death". Parnok's mature poetry showed a simpler use of language, shorter lines and rhythmic variation. While rejecting the Romantic poetry of previous eras, Parnok conveyed passion through the use of commonplace straightforward language. Her style employs rhetorical questioning, as if she is having conversations with herself, indicators that even in the presence of others, Parnok felt removed from them. Стихотворения (Poems, 1916) contained 60 poems, some previously published, written from 1912, the year of her father's death, to 1915. The book was