" Such self-indulgence... ultimately threatened no one"
It's second generation, which emerged in the 1940's - Howard Nemerov, Randall Jarrell, Robert Lowell, Elizabeth Bishop, Delmore Schwartz, Richard Wilbur, Anthony Hecht, John Berryman, among many others - would fuse these techniques with postwar malaise, and an interest in psychoanalysis and existentialism, to produce works that often depended on minor scandalousness, from the incorporation of impolite words like "public hair" in an otherwise traditional sonnet, to the "confession," in well-turned phrases, of one's neurotic and self-destricutive life. Such self-indulgence -utterly timid compared to, say, the autobiographical spelunkings of Artaud or Vallejo or Celan - ultimately threatened no one, while reinforcing the American image of the poet as an overgrown disturbed child prodigy.
From the incredible essay "American Poetry Since 1950: A Very Brief History" by Eliot Weinberger in his Anthology "American Poetry Since 1950"
full version begins on pg 393 here