Morphy's strategies of "increased mobility by securing open lines, establishment of a strong Pawn center, and rapid development of the pieces" (vi), as Frank Brady chronicles, hereby promoted the emergence of the Hypermodern School, the Hungarian Richard Reti (1889-1929) becoming Morphy's foremost legatee.
A flexible tactician, Capablanca now added Hypermodern techniques to his armory, and even the Hungarian chess master Imre Konig (1899-1992), one of a number of Europeans skeptical of the latest movement, eventually had to acknowledge the supremacy of the Hypermodern School. "By their unbiased approach to the openings and exhaustive analysis," concedes Konig, the Hypermoderns "opened quite unexpected new possibilities where the dogmatism of their predecessors had feared to penetrate, and gave the game a new dynamic character" (202).
In addition to Kreymborg, one of Faulkner's Hollywood friends almost certainly followed the success of the Hypermodern School: Humphrey Bogart (1899-1957).
In effect, with his desire for outlandish control, Stevens now tries to emulate the Hypermodern School. But Stevens's switch of strategy, his attempt at suspended love at a distance, fails because he misplaces his knight's strength.
In this connection, it is interesting to note that Richard Reti, to whom they refer, was one of the leading lights of the wonderfully named Hypermodern school of chess.
For more on the Hypermodern school see Richard Eales's Chess: The History of a Game, chapter 6 and Richard Reti's own brilliant work, Modern Ideas in Chess (Dover Publications, 1960), trans.