she was the leading editor. For the next seven years, she lived quietly and independently at Beverly Farms. In the spirit of ministry, she gathered together the compilation of Breathings of a Better Life. Roadside Poems, and Hillside and Seaside, were compilations from readings of nature. Childlife, Childlife in Prose, and Songs of Three Centuries, were pulled together in company with Whittier, and which he edited. The volume, Wild Roses of Cape Ann came after these. Larcom served as a model for the change in women's roles in society. She was a friend of Harriet Hanson Robinson, who worked in the Lowell mills at the same time. Robinson also became a poet and author; later, she was prominent in the women's suffrage movement. Both contributed to the literary magazine Lowell Offering. Death and legacy Larcom died at age 69 on April 17, 1893 in Boston and was buried in her hometown of Beverly, Massachusetts. Her influence is still felt in Beverly. A local literary magazine entitled The Larcom Review is named for her, as is the library at the Beverly High School. A theatre built in Beverly in 1912 was named the Larcom Theatre Music and Performing Arts after Larcom as well. Larcom Mountain, located in the Ossipee Mountains in New Hampshire, is named after her, as she frequented the area during the late 1800s. At Wheaton College in Norton, Massachusetts, the Larcom Dormitory is named after her. Rushlight Literary Magazine, which she founded, is still in publication today. Larcom's legacy is honored in Lowell, Massachusetts, where she worked as a "mill girl" at the Boott Mills, and as such, the Lucy Larcom Park was named after her to honor her works of literature that recounted her life at the mills. The park is located between the two Lowell High School buildings, and excerpts from her writings can be found on monuments, statues and other works of art throughout the park. Style and themes Larcom's later writings, assumed a deeply religious tone, in which the faith of her whole life found complete expression. In retrospection, she wrote Idyl of Work. Notwithstanding the fact that she really meant to set forth the image she had in her mind of her own elder sister, she unconsciously gave herself also, perhaps, through family likeness, in some touches of her portrayal of "Esther" in the Idyl. In her Idyl of Work and also in