The Desire We Keep Calling Impractical

On what happens when we stop editing our wants before we even name them.

Overlapping antique handwritten letters in cursive ink, layered and worn at the edges—used to open "The Desire We Keep Calling Impractical," an essay on editing our wants before naming them, on She The King.

A record, already being revised.

A want gets put on trial before the feeling has even finished forming. This is what happens after the verdict.

Ask her what she wants for someone else's birthday, and she'll have three ideas in ten seconds. Ask what she wants for herself, and something closes—not evasion, just years of practice getting there first, calling it practical before anyone had to call it anything else.

We see the house we'd love to live in and immediately calculate whether it makes sense. We imagine another city and start listing everything we'd have to give up. Before the desire has fully formed, we've already put it on trial—asking, is it practical? Before we've let ourselves ask the more interesting question: do I want it?

Practical According to Whom?

A dimly lit corridor with a repeating sequence of illuminated doorways, photographed in shadow — accompanying the "Practical According to Whom?" section of She The King's essay on desire and self-editing.

Every doorway, a decision not yet made.

Practicality is useful. It protects us from bad decisions. But sometimes it becomes something else—a way of disqualifying a desire before we ever find out what it might ask of us. We suppress our wants and learn to edit before they're fully spoken. 

Many of us become remarkably good at knowing what's reasonable—the want that's responsible versus the one that's selfish, the dream that's achievable versus the one that isn't. We get there first, answering: what would you do with it? Before we've let ourselves say I want this at all.

Sometimes that voice is wisdom. Sometimes it's fear. And sometimes "practical" means familiar—the choice we already know how to live inside, versus the one we haven't learned yet. Unfamiliarity isn't evidence against a desire. It's just unfamiliar. Worth asking: practical according to what version of your life—the one you built at twenty-five, or the one you've accumulated since?

Information Before Instruction

An open brass compass resting on a hand-drawn antique world map showing coastline and ocean routes — illustrating "Information Before Instruction," the section of She The King's essay on desire as a signal rather than a command.

Desire points. It doesn't decide.

Acknowledging a desire isn't the same as obeying it. Desire is information, not instruction—it doesn't necessarily tell you what to do; it tells you where to look. The thing we think we want isn't always the thing itself: a desire to move might really be a desire for freedom. A desire for a new career might be a desire to feel useful again.

That's the part worth sitting with—not whether to act, but what the want is pointing at. Sometimes it's wisdom. Sometimes I want to leave means I am exhausted, and the desire is telling you something closer to home than it first appears.

A plain wooden desk and bench beneath a bare window looking out on winter branches, shot in sepia tone — accompanying "What You'd Want, Unexplained," on She The King's essay about naming small, undramatic desires.

A room of your own, unexplained.

What You'd Want, Unexplained

There's a question underneath all of this: what would you want if nobody needed you to justify it? Not what makes sense on paper. Not what's easiest to explain.

The answer usually isn't dramatic. More beauty in the everyday. A room of your own. A slower morning. The point isn't to follow every desire that surfaces. It's to notice which ones keep returning.

A Responsible Life, Still Yours

A weathered exterior wall with peeling paint and a closed wooden shutter, photographed with visible age and imperfection — closing image for She The King's essay "The Desire We Keep Calling Impractical."

Not blown up. Just quietly, finally opened.

Self-discovery often gets framed as blowing everything up—quit, move, begin again. Most lives don't need to be destroyed to become more honest. Sometimes the change is quieter: a boundary, a conversation, a decision to stop apologizing for what you enjoy.

The real risk was never wanting something impractical. It's getting so practical at dismissing our own wants that we stop recognizing them. The life that feels more like yours probably isn't hiding behind one enormous decision. It may begin with something smaller, letting a desire exist long enough to be understood, before deciding whether it's sensible, affordable, or worth pursuing at all.

What would you want, if wanting it were enough?

 

Further Reading: On Wanting, Editing, and Being Believed

These pieces explore what happens when a want, a feeling, or a self gets edited down before anyone else sees it.

→ What High-Performing Women Get Wrong About Self-Criticism: The harshest voice in the room is usually your own—and it's often the one deciding which wants are allowed to survive.

→ Why Women Are So Good At Hiding It: On emotional suppression as a cultural skill—and what it takes to unlearn it.

→ When Strength Becomes Distance: A companion piece on the same instinct from another angle—how needing nothing from anyone can quietly become its own kind of self-erasure.


J Martinez

J Martinez writes about the places culture lives in everyday life—the overlap between books, music, film, food, and art, and how these things move through our days without us always noticing. She also writes about travel from the inside, drawn from personal experience rather than itinerary.

https://www.shetheking.com
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When Strength Becomes Distance