years, Parnok's works often reminisced on the best and worst aspects of their stormy affair. Tsvetaeva, on the other hand, tried to exorcise Parnok completely from her life and her works. By summer, Tsvetaeva, who had returned to her husband, was pregnant and Parnok and Erarskaya were living together in an apartment at 2 Sukharevskaya Sadovaya Street. As a result of the February Revolution in 1917, Northern Annals closed, ending abruptly Parnok's career as a critic and her most constant source of income. Illness for each of the couple, famine and the political upheaval of the war, forced them to make plans to move to the Crimea by fall. Sudak period Parnok left Moscow in late summer 1917 and spent the Russian Civil War years in the Crimean town of Sudak with Erarskaya. Soon after their arrival, she was approached by Alexander Spendiaryan (known in Russia as Alexander Spendiarov) and asked to prepare the libretto for a 4-act opera Almast, based on an Armenian legend. Parnok immediately set to work, sourcing her dramatic verse on the epic poem, The Taking of Tmuk Fortress, by Hovhannes Tumanyan and using Erarskaya as her inspiration. She finished the libretto by the winter of 1918, long before Spendiaryan had completed the musical score, and returned to reading Sappho. At that time in Russia, as elsewhere, Sappho was considered a heterosexual poet because she wrote about desire. Both physical love and desire, were perceived as masculine traits, thus women poets who wrote erotic lyrics without shame, regardless of their sexual orientation, were often given the label Sapphic. Simultaneously, she and Eugenia Gertsyk, Adelaida's sister, became closer friends, reveling in their spiritual quest. She viewed her relationship with Eugenia as that of an older and wiser guide, who could help her mature spiritually and break her addiction to love. Sudak proved to be a productive writing time for Parnok and in 1919, she published in an almanac a substantial number of lyrics, which focused on her new-found spiritual journey. She prepared most of the poems for two journals which would be published later. These demonstrated her poetic evolution from her past to her future. Her collection Roses of Pieria (1922) clearly evoked the influence of Sappho, with her acknowledgement of the first lesbian poet. The poems reflected her attempt to write of her experiences and desire as a sexually active lover of women, but she stylized