His first work came out at the end of the 1980s under the pseudonym of Otík Bzenecký by Host publishers. At this point he was working as a heating operator at the Strahov halls of residence while also devoting his time to writing – and not to the civil engineering that he had studied at Brno University of Technology. Following the Velvet Revolution he published in literary magazines, though his first book, Minimální okolí mrazicího boxu (The Closest Proximity to the Freezer, Větrné mlýny), wasn’t published until 1997. This was followed a year later by the collection Wrong! (Petrov, 1998). Both require the reader to understand verse which resists understanding – however, if the reader abandons attempts to understand everything and contents himself with the rhythm and concept of the poem as a collage “speaking with a stammering cybernetic newspeak made up of clumps of adjectives,” as critic Radim Kopáč wrote about Dynka, then they will receive much food for thought. Jan Antonín Pitínský adapted the first collection for the theatre.

The collection Líviový lenkový (Livia-like, Lenka-like, Klokočí a Knihovna J. Drdy, 2000) is written in a similar vein. “In the collection Líviový lenkový, Dynek’s expression is closer to that of traditionally viewed poetry with its verse and stanza character, though the alternation of the type and size of lettering persists. Dynek’s characters are increasingly engaged in their bizarre pleasures, while existential themes are only marked by their absence,” wrote critic Karel Piorecký.

The collection Sussex Superstar (Petrov, 2002) then presents the reader with an entirely carnal love and eroticism: “When she spreads her legs / I see a cherry in the twilight. To bite the skin / back / buttocks. A cigarette thrust into a grapefruit / a lover’s finger.” Critic Dora Kaprálová wrote of the book that: “In his latest collection, between the lines Dynka didactically warns the reader that human life is a short-lived crystal surrounded by cremation, shredding and sex. It does so with a necrophiliac tenderness of ageing lyricism.” This was followed four years later by Tamponáda (Effusion, Druhé město, 2006) the down side of carnality – after pleasure comes pain and illness.

Naučná stezka olšanské hřbitovy (The Olšany Cemeteries Educational Trail, Větrné mlýny, 2010) follows city parks, where Dynka is still a lyric poet who sees the poem as a force field. Jiří Vyorálek and Michal Bumbálek adapted the collection for radio. Two years later there followed the collection Poběžme natrhat růžové kakosty (Let’s Run and Gather Pink Geraniums, Větrné mlýny, 2012): “Always go out at the weekend… / more like a branch… like a stream / a meandering walk…let it be a clear day… / a few clouds is OK… / a notebook to hand…”

A year later he published the collection Krev na onom světě Jiřího Veselského (Blood in the Other World of Jiří Veselský, Druhé město, 2013). The poems are based on the memories of and correspondence with a Kyjov poet and lover of women. The collection, therefore, forms an inventory of the loves of Jiří Veselský.