 Instead, Hale suggests that both categories would be better analyzed as family-resemblance concepts (1998a, 323). If so, claims Hale, it would be better to speak of a border zone where the categories partially overlap with each other than to search for a firm boundary between the two (323). The model allows Hale to, perhaps in the spirit of Anzaldúa, speak of “border zone dwellers”—individuals who live at the edges of multiple, overlapping identity categories. He argues that given the evidence, Brandon (Teena) appears to have been such a border zone dweller (317–9). Attempts to claim the dead (or the living) who live in such border zones, argues Hale, make it even harder for such individuals to live there (319). It makes it more difficult to live there by threatening to eliminate border zone space altogether by trying to force individuals who occupy it into other frameworks. Similarly, border zone dwellers may face pressure to claim identity categories that do not work well and which threaten to erase the specifics of their lived experiences (336). Such subject positions (constituted by a lack of any central identity category) are important, albeit difficult place to speak from (partially because there doesn't seem to be any available language). Yet such specificity must be maintained, argues Hale, partially through calling into question the function of definitions and categories, partially through artistic endeavor that attempts to creatively give voice to experiences not well captured in the available language (336–7). Hale strongly urges that butch/ftm border zones be “demilitarized” (i.e., that different “camps” such as ftm community and lesbian community stop trying to claim border zone dwellers as their own) in order to make room for marginalized border zone dwellers themselves (340).