"There's a kind of cinema I detest, which is a cinema that is about exposition and explanations ... It's become now what I call a medium for lazy readers ... Cinema is a hostage of narrative. And I'm very good at narrative as a hostage of cinema." Cuarón's disdain for back-story and exposition led him to use the concept of infertility as a "metaphor for the fading sense of hope". The "almost mythical" Human Project is turned into a "metaphor for the possibility of the evolution of the human spirit, the evolution of human understanding". Cuarón believed that explaining things such as the cause of the infertility and the Human Project would create a "pure science-fiction movie", removing focus from the story as a metaphor for hope. Without dictating how the audience should feel by the end of the film, Cuarón encourages viewers to come to their own conclusions about the sense of hope depicted in the final scenes: "We wanted the end to be a glimpse of a possibility of hope, for the audience to invest their own sense of hope into that ending. So if you're a hopeful person you'll see a lot of hope, and if you're a bleak person you'll see a complete hopelessness at the end." Religion Like Virgil's Aeneid, Dante's The Divine Comedy, and Chaucer's The Canterbury Tales, the crux of the journey in Children of Men lies in what is uncovered along the path rather than the terminus itself. Theo's heroic journey to the coast mirrors his personal quest for "self-awareness", a journey that takes him from "despair to hope". According to Cuarón, the title of P. D. James' book (The Children of Men) is an allegory derived from a passage of scripture in the Bible. (Psalm 90 (89):3 of the KJV: "Thou turnest man to destruction; and sayest, Return, ye children of men") James refers to her story as a "Christian fable" while Cuarón describes it as "almost like a look at Christianity": "I didn't want to shy away from the spiritual archetypes", Cuarón told Filmmaker Magazine. "But I wasn't interested in dealing with dogma." This divergence from the original was criticised by some, including Anthony Sacramone of First Things, who called the film "an act of vandalism", noting the irony of how Cuarón had removed religion from P.D. James' fable, in which morally sterile nihilism is overcome by Christianity. The film