What Roth does well (and not so well)

What Philip Roth does well (and not so well), based on obvservations from a lifetime of reading Roth's fiction and in particular my current reading, "Letting Go":
evocation: he creates a sense of place (and time) as well as or better than anyone, right alongside Updike, among his contemporaries, and Proust, among his predecessors. Roth's Newark is one of the most vivid places in all of fiction.
dialog: his dialog can be among the wittiest and sharpest, especially the many struggles between son and mother or father, most famous in Portnoy's Complaint but present throughout - many long scenes told entirely through dialog, as we watching the workings of two minds grappling
Jewish angst: His trademark, and present in every one of his novels, right from the start, issues of interfaith marriage, fitting into American society, obligation to religion and family, faith v secularism, and in later fiction issues about Israel and the Holocaust
Esoterica: his characters know about so many things and wear this knowledge lightly, but we as we read him we learn about everything for new criticism in the 1950s to the glove-making industry
Battle of the Sexes: some of the most punishing scenes of marital and couples strife (especially in Letting Go), and lots of great writing about adolescent angst (in early works of course but also in newest novel, Nemesis)
Crazy Jews: the peripheral characters are a cast of eccentrics and weirdos of almost Russian proportions - plenty of these in Letting Go, including the Herz uncles and parents and the Gabe Wallach's dad - Bellow is the obvious influence here
But not so well:
Plot - you would never go to a Roth novel for plot, but, as noted yesterday, his novels together make up a vast compendium of a novel about the sensibility of the author, Roth himself
kids - are there any believable kids in Roth's fiction? He seems to have very little sense of how to portray young children - life for him starts with adolescence, with puberty - at least life in the novel.