Question

Five jumbled up sentences, related to a topic, are given below. Four of them can be put together to form a coherent paragraph. Identify the odd one out and key in the number of the sentence as your answer:

• A. The victim’s trauma after assault rarely gets the attention that we lavish on the moment of damage that divided the survivor from a less encumbered past.
• B. One thing we often do with narratives of sexual assault is sort their respective parties into different temporalities: it seems we are interested in perpetrators’ futures and victims’ pasts.
• C. One result is that we don’t have much of a vocabulary for what happens in a victim’s life after the painful past has been excavated, even when our shared language gestures toward the future, as the term “survivor” does.
• D. Even the most charitable questions asked about the victims seem to focus on the past, in pursuit of understanding or of corroboration of painful details.
• E. As more and more stories of sexual assault have been made public in the last two years, the genre of their telling has exploded --- crimes have a tendency to become not just stories but genres.

Answer 1

The Correct Option is D

The primary focus is on sexual assault narratives and their aftermath for victims. Option E introduces the concept of sexual assault narratives as a separate genre. Option B identifies a key characteristic: the prevalence of inquiries into perpetrators' futures and victims' pasts. Option C details the repercussions of this focus, specifically the emphasis on a victim's history, a point further supported by option A. While option D discusses a related subject, it deviates by addressing questions posed to survivors, a topic not yet covered. Consequently, option D is the outlier.

The correct answer is (D): Even benevolent questions directed at victims often center on their past, seeking to comprehend or validate distressing specifics.