Yes, and as far as I know Stanisław Lem was also genuinely contemptuous of the 1950s default style of US sci-fi: square-jawed heroes who triumph over every puzzle, right every wrong; Cowboys and Indians on a frontier planet, manifest destiny, etc.
A lot of his work emphasises how this tendency fails in the face of the sheer unknowable alienness of the outer universe. e.g. Solaris, The Invincible, Fiasco.
Lem liked Phil Dick though, because Dick's work was more sceptical and mind-bending: more like his own work than it was like the spaceship heroics.
I'm sure you know this, but for those who might not, US sci-fi was just as varied as anywhere else... except in the domain of John W. Campbell, for decades the editor of the biggest-circulation sci-fi magazine in the country, where he very much explicitly selected for that kind of story. Lots of famous authors active in the era have tales of how they edited their work to meet Campbells demands -- I recall one where the author switched the 'human' and 'alien' species because Campbell wouldn't print a story where humanity 'lost.'
Truly a fascinating character, and an author in his own right, responsible for the story that John Carpenter would adapt for his film The Thing. I don't share his taste in science fiction, but he had a massive impact on the genre.
Yes, indeed. I was thinking of the pulp magazines, and also to an extent the Original Series of Star Trek.
See Jeannette Ng's "2019 John W. Campbell Award" acceptance speech on the topic, and commentary that followed.
You're doing a genre with a complex timeline somewhat of a disservice here. Dick's career spanned two or three of the broad "waves" of SF. He was embraced by the New Wave authors probably more than any other writer not of their generation.
Im not super well read in that era, but i feel like that sort of square-jawed americanism was already kind of being deconstructed at that point. E.g. asimov books were all about how brain beat brawn, and violence is the last refuge of the incompetent.