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:
1. 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.
2. 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.
3. 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.
4. 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.
5. 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.
Correct Answer: 4
The subject here is about the narratives of sexual assault and the subsequent treatment of the victims. The paragraph begins with Statement (5) which talks about sexual assault narratives turning into a genre. Statement (2) comments on a stark element within these narratives: the general interest in perpetrators’ futures and victims’ pasts. Statement (3) delineates on the outcome of the latter: the focus on a victim's past' and Statement (1) further adds to this point. Although Statement (4) appears on a similar topic, we cannot place it in the above arrangement since it diverges into the subject of asking questions to the survivors {an element that is yet to be discussed}. Thus, (4) is the odd-one-out.
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