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Christopher Horton's poems have appeared in The North, Poetry London, Poetry Wales, Under the Radar, The Spectator, Stand, New Statesman, New Welsh Review, Acumen, Ambit, Iota, Magma, SOUTH, The Wolf, Frogmore Papers, and in anthologies with Penned in the Margins, Broken Sleep Books, tall-lighthouse and Days of Roses. He has been awarded in the National Poetry Competition, Bridport Prize, Verve Festival Poetry Competition, Frogmore Poetry Prize, Ver Poets Competition, Ware Poetry Competition, Winchester Poetry Competition, amongst others. He has read his work on Resonance FM and is devotee of experimental music.
His first pamphlet, Perfect Timing, was released by tall-lighthouse press in 2021 and a second pamphlet, Clutter Jar, was released by Broken Sleep Books in 2025.​
Gillian Clarke wrote of Perfect Timing, ‘Observing an urban world, human and animal, these poems pleasingly mark in word-music the juncture between the said and the unsaid.’
Katrina Naomi wrote of Perfect Timing, ‘Playful, sensitive, and imaginative. Christopher Horton’s many voices are equally at home in the city and the wilds. Perfect Timing surprises us with what often goes unnoticed.’
Jonathan Edwards wrote of Perfect Timing, ‘These are accessible, wry, imaginative and above all moving poems, which give illuminating new views on a range of subjects, including the city, work and relationships. If the poem ‘Members Only’ explores a social networking group who like to sit at the front of trains and pretend they’re driving it, can be said that the poems of this pamphlet are the real thing in the hands of an expert pilot, who makes all the right moves, with absolutely perfect timing.’
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Maggie Harris wrote of Clutter Jar, ‘Christopher Horton's imagination takes us flying between worlds, between ideas, from ghosts by the road side, to Pompeii, to Shaoshan, from urban to rural to the cosmic. He is playful in turn ('The many Versions of Brian Eno) as well as socially aware ('Tenancy Decant'), with keen observation and awareness of our increasingly complicated and cluttered world, our minds continually attempting to locate ourselves within it. The sense of time as an illusion is glaringly present in many poems, as is the reflection on sound, through music and the creators of music…This is an interesting and complex collection which deserves to be read.’
Dorothy Lehane wrote of Clutter Jar, ‘Nostalgic for what’s slipping away yet alert to the unease of modern life, these finely wrought poems capture the weight and subtlety of the everyday with grace and precision.’
Vanessa Lampert wrote of Clutter Jar, ‘Christopher Horton writes with tenderness and mischief, gathering the odd corners of living into poems that hum with love, loss, and the ordinary miracles of everyday life. These are pages which open doors into kitchens, night buses, city streets and empty dancefloors. They bring their reader into the company of dreamers, gatecrashers, of bees, ghosts, and old lovers. These poems offer their attention to beauty and strangeness and generously illuminate what can be found inside the private rooms of the heart.’
Paul Stevenson wrote of Clutter Jar, ‘These poems are really original, entertaining, and at times, moving. Christopher takes the reader on a number of journeys....London, Italy, China, the oceans...and clearly has a love of pop and contemporary music. He explores notions like 'expert' and 'posthumous', 'ambition' and 'remote'. He has a really good eye and look slant on the world with great wit and curiosity also. I really appreciated the variations in form, from couplets, tercets, quatrains to free verse and longer sequence poems
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