Sure there are other possible enharmonic equivalents you can convert the interval to C♭♭ to E♯, but it makes the interval uglier (a tripy augmented 3rd). Even if the book misprinted this and did not intend for you to have any doubly augmented or doubly diminished it's still an acceptable exercise for you.
Intervals of a 4th and 5th are the most likely place you'll ever see a doubly diminished or doubly augmented interval due to the nature of these intervals. In fact, there may be chords you play that have these intervals.
Let's look at a C7b5#9 and a C7#5b9
C7b5#9 - C E Gb Bb D#
C7#5b9 - C E G# Bb Db
In the case of a C7b5#9, the interval between Gb and D# is a doubly augmented 5th and the Gb wants to go to an F(tonic) and the D# wants to go to an E(tonic's 7th aka leading tone). In the case of a C7#5b9, the interval between G# and Db is a doubly diminished 5th and the G# wants to go to an A(the 3rd of tonic) and the Db wants to go to a C(the 5th of tonic).
The point of these excesses is more to just drill and tax your knowledge of the topic and taking it to extremes to think most likely is the goal of that specific example. In fact in collage in my Music Theory 101 course my professor gave us interval worksheets that were very rigorous with the last interval being a triply augmented 5th (G♭♭ to D♯!) which was meant to stretch our understanding of the concept of intervals and is something that you'll almost certainty never see. It also wasn't in the book we were using and he even said as a joke "
If you ever see a G♭♭ to D♯ in the wild, drop what you are doing and contact me.
I have yet to contact him due to this.