Since her death, her writings largely have been forgotten.
When remembered, she has been criticized for being shallow or for catering to the society in which she lived where women were expected to avoid public lives.
For example, much of her writing is referred to as "hack work" by Haight, her only biographer.
Others have attributed her influence to her relationships with wealthy, powerful people of her day or to good business sense.
Kolker points out that much of the criticism has come from modern ideas of finding a personal voice through poetry while Sigourney's avowed intent was to benefit others (66).
This purpose would mean that she had no need to find a personal voice.

However, according to Nineteenth Century Criticism, "recently... there has been a renewed interest in Sigourney, particularly among feminist literary scholars.
Critics such as Annie Finch, Nina Baym, and Dorothy Z. Baker have studied Sigourney's successful attempt to establish herself as a distinctly American and distinctly female poet."
Nina Baym writes about Sigourney's construction of her own identity that through canny participation, it continued throughout her lifetime.

She was one of the most popular writers of her day, both in the United States and in England, and was called 'the American Hemans.'
Her writings were characterized by fluency, grace and quiet reflection on nature, domestic and religious life, and philanthropic questions; but they were also often sentimental, didactic and commonplace.
Some of her blank verse and pictures of nature suggest Bryant.
Among her most successful poems are 'Niagara' and 'Indian Names.'
The latter was set to music by Natalie Merchant for the 2010 album, Leave Your Sleep.
Throughout her life, she took an active interest in philanthropic and educational work (1911 Encyclopædia Britannica).
Some of her most popular work deals with Native American issues and injustices.
An early advocate for social reform in slavery and emigration, as well, Sigourney felt obligated to use her position to help oppressed members of society.
In her posthumously published autobiography, "Letters of Life", Sigourney stated that she wrote with the hope of 'being an instrument of good'.

Her influence was tremendous.
She inspired many young women to attempt to become poets.
According to Teed:
As a dedicated, successful writer, Lydia Sigourney violated essential elements of the very gender roles she celebrated.
In the process, she offered young, aspiring women writers around the country an example of the possibilities of achieving both fame and economic reward (19).

Rev. E. B. Huntington wrote a small consideration of Mrs. Sigourney's life shortly after her death.
He thought that her success came "because with [her] gifts and [her] success, she had with singular kindliness of heart made her very life-work itself a constant source of blessing and joy to others.
Her very goodness had made her great.
Her genial goodwill had given her power.
Her loving friendliness had made herself and her name everywhere a charm" (85).
She wrote to inspire others, and Huntingdon felt that she had been successful.

She contributed more than two thousand articles to many (nearly 300) periodicals (1911 Encyclopædia Britannica) and some 67 books.

In 1844, Sigourney, Iowa, the county seat of Keokuk County, Iowa, was named in her honor.
A large oil-paint portrait of Lydia still graces the foyer of the county courthouse.

Her poem "Sailor's Hymn At Parting," from her book Poems for the Sea (1850) is repeatedly quoted in the 2019 film The Lighthouse.
Since her death, her writings largely have been forgotten. When remembered, she has been criticized for being shallow or for catering to the society in which she lived where women were expected to avoid public lives. For example, much of her writing is referred to as "hack work" by Haight, her only biographer. Others have attributed her influence to her relationships with wealthy, powerful people of her day or to good business sense. Kolker points out that much of the criticism has come from modern ideas of finding a personal voice through poetry while Sigourney's avowed intent was to benefit others (66). This purpose would mean that she had no need to find a personal voice.
However, according to Nineteenth Century Criticism, "recently... there has been a renewed interest in Sigourney, particularly among feminist literary scholars. Critics such as Annie Finch, Nina Baym, and Dorothy Z. Baker have studied Sigourney's successful attempt to establish herself as a distinctly American and distinctly female poet." Nina Baym writes about Sigourney's construction of her own identity that through canny participation, it continued throughout her lifetime.
She was one of the most popular writers of her day, both in the United States and in England, and was called 'the American Hemans.' Her writings were characterized by fluency, grace and quiet reflection on nature, domestic and religious life, and philanthropic questions; but they were also often sentimental, didactic and commonplace. Some of her blank verse and pictures of nature suggest Bryant. Among her most successful poems are 'Niagara' and 'Indian Names.' The latter was set to music by Natalie Merchant for the 2010 album, Leave Your Sleep. Throughout her life, she took an active interest in philanthropic and educational work (1911 Encyclopædia Britannica). Some of her most popular work deals with Native American issues and injustices. An early advocate for social reform in slavery and emigration, as well, Sigourney felt obligated to use her position to help oppressed members of society. In her posthumously published autobiography, "Letters of Life", Sigourney stated that she wrote with the hope of 'being an instrument of good'.
Her influence was tremendous. She inspired many young women to attempt to become poets. According to Teed:
As a dedicated, successful writer, Lydia Sigourney violated essential elements of the very gender roles she celebrated. In the process, she offered young, aspiring women writers around the country an example of the possibilities of achieving both fame and economic reward (19).
Rev. E. B. Huntington wrote a small consideration of Mrs. Sigourney's life shortly after her death. He thought that her success came "because with [her] gifts and [her] success, she had with singular kindliness of heart made her very life-work itself a constant source of blessing and joy to others. Her very goodness had made her great. Her genial goodwill had given her power. Her loving friendliness had made herself and her name everywhere a charm" (85). She wrote to inspire others, and Huntingdon felt that she had been successful.
She contributed more than two thousand articles to many (nearly 300) periodicals (1911 Encyclopædia Britannica) and some 67 books.
In 1844, Sigourney, Iowa, the county seat of Keokuk County, Iowa, was named in her honor. A large oil-paint portrait of Lydia still graces the foyer of the county courthouse.
Her poem "Sailor's Hymn At Parting," from her book Poems for the Sea (1850) is repeatedly quoted in the 2019 film The Lighthouse.
Lydia Sigourney