Some context: Utada Hikaru (Yu Duo Tian hikaru, born January 19, 1983), who also goes by the mononym Utada (English: ), is a Japanese-American singer-songwriter and producer. Born in New York City to Japanese parents, record producer Utada Teruzane and enka singer Abe Junko, Utada began to write music and lyrics at an early age and often traveled to Tokyo, as a result of her father's job. Eventually, a recording contract with Toshiba-EMI was signed and, under the stage name "Cubic U", Utada released her English-language debut album Precious in early 1998, but was a commercial failure. In the following year, heavily influenced by R&B and dance-pop, her Japanese-language debut First Love was released and became an instant success.
Her first singles compilation album Utada Hikaru Single Collection Vol. 1 was released on March 31, 2004. It became the best-selling album of 2004 in Japan, making her the only solo or group artist to reach number 1 four times on the yearly charts. It was the first compilation album to reach number 1 in six years on the yearly charts, and the first compilation album to reach number 1 in twenty-six years by a female artist. Despite its success, the album received little promotion and no new material; moreover, it charted longer on the Oricon Albums chart longer than any other Utada release to date (over 2 years). The album sold over 2.575 million units in Japan, making it the 34th best-selling album ever in the country. A month later, on April 21, she released her only Japanese single in 2004, "Dareka no Negai ga Kanau Koro," which topped the singles chart for two consecutive weeks and sold 365,000 units by the year's end and was also the main theme song for Casshern, directed by her then husband Kazuaki Kiriya. In mid-2004, Utada moved back to New York, and began work on a new recording contract with Island Def Jam Music Group. On October 5, 2004, she released her North American English-language debut album, Exodus, under the name "Utada," which was her new American-given artist title at the Universal Convention. It was released on September 9 in Japan, with a special booklet and housed in a cardboard slipcase. In an MTV interview, Utada said: "I don't think it's the music that I'm concerned about. It's obviously that I look really different and there really aren't any completely Asian people [who are popular singers in the U.S.] right now." Exodus became Utada's fourth consecutive release to debut at number 1 and boast 500,000 copies in its first-week sales in Japan. American sales were not as successful, it reached number 160 in the US Billboard 200 chart; it however peaked at number 5 in the Heatseekers chart. "Easy Breezy" was released as the lead single in early August 2004, followed up by "Devil Inside" a month and two weeks later. And Utada became the cover of the Interview magazine June 2005 issue. "Exodus '04" was released at the end of June 2005 and featured remixes from The Scumfrog, Richard Vission, JJ Flores and Peter Bailey. In the UK, Mercury added another 2 remixes for "You Make Me Want to Be a Man" in the original album Exodus 04, titled "You Make Me Want to Be a Man [Bloodshy & Avant Mix]" and "You Make Me Want to Be a Man [Junior Jack Mix]." By the end of the year Utada was voted "Number 1 Favorite Artist of 2004" by Oricon's annual readers poll. The fourth single from Exodus, "You Make Me Want to Be a Man", was released in October 2005 in the UK. "Devil Inside" became a club hit in the U.S. and topped the Billboard Hot Dance/Club Airplay charts. Both the Exodus album and the "You Make Me Want to Be a Man" single were released in the UK, with different artwork from the USA and Japanese versions.
What happened in 2004?
A: Her first singles compilation album Utada Hikaru Single Collection Vol. 1 was released on March 31, 2004.

Some context: Herman Northrop Frye (July 14, 1912 - January 23, 1991) was a Canadian literary critic and literary theorist, considered one of the most influential of the 20th century. Frye gained international fame with his first book, Fearful Symmetry (1947), which led to the reinterpretation of the poetry of William Blake. His lasting reputation rests principally on the theory of literary criticism that he developed in Anatomy of Criticism (1957), one of the most important works of literary theory published in the twentieth century. The American critic Harold Bloom commented at the time of its publication that Anatomy established Frye as "the foremost living student of Western literature."
Once asked whether his critical theory was Romantic, Frye responded, "Oh, it's entirely Romantic, yes" (Stingle 1). It is Romantic in the same sense that Frye attributed Romanticism to Blake: that is, "in the expanded sense of giving a primary place to imagination and individual feeling" (Stingle 2). As artifacts of the imagination, literary works, including "the pre-literary categories of ritual, myth, and folk-tale" (Archetypes 1450) form, in Frye's vision, a potentially unified imaginative experience. He reminds us that literature is the "central and most important extension" of mythology: ". . . every human society possesses a mythology which is inherited, transmitted and diversified by literature" (Words with Power xiii). Mythology and literature thus inhabit and function within the same imaginative world, one that is "governed by conventions, by its own modes, symbols, myths and genres" (Hart 23). Integrity for criticism requires that it too operates within the sphere of the imagination, and not seek an organizing principle in ideology. To do so, claims Frye, . . . leaves out the central structural principles that literature derives from myth, the principles that give literature its communicating power across the centuries through all ideological changes. Such structural principles are certainly conditioned by social and historical factors and do not transcend them, but they retain a continuity of form that points to an identity of the literary organism distinct from all its adaptations to its social environment (Words with Power xiii). Myth therefore provides structure to literature simply because literature as a whole is "displaced mythology" (Bates 21). Hart makes the point well when he states that "For Frye, the story, and not the argument, is at the centre of literature and society. The base of society is mythical and narrative and not ideological and dialectical" (19). This idea, which is central in Frye's criticism, was first suggested to him by Giambattista Vico.
did he have any other works?
A:
(Words with Power xiii